close

Neopost Foofwaartist sheet 37/55

focus

events

Foofwa d'Imobilité, whose parents were both dancers, was a member of the Merce Cunningham Dance Company before becoming a choreographer in 1998. A mischievous virtuoso who can't keep still, he constantly expands notions of dance choreography, and the stage, in particular via his dancewalks, danceruns and actions in public space.

PerformanceProcess Basel 2017-2018
tue 26 Sep 2017
1
14h
Neopost Foofwa (Foofwa d'Imobilité) - Basel.Dancewalk (Stadt-Landschaft) (2017)Kaserne Basel

The performer and choreographer Foofwa d’Imobilité performs his «Dancewalk» and offers an artistic perspective to walking along the border between Basel-Stadt and Baselland. In this project, the audience is invited to join in and to help create the «Dancewalk». The group is accompanied by musicians and local residents. If you want, you can also prepare for this dancewalk. Foofwa d’Imobilité will be offering a preparatory dancewalk workshop for professional and non-professionals alike on Monday, 25 September.

Neopost Foofwa (Foofwa d'Imobilité) - Basel.Dancewalk (Stadt-Landschaft) © Gregory Batardon

Neopost Foofwa (Foofwa d'Imobilité) - Basel.Dancewalk (Stadt-Landschaft) © Gregory Batardon

Neopost Foofwa (Foofwa d'Imobilité) - Basel.Dancewalk (Stadt-Landschaft) © Gregory Batardon

Neopost Foofwa (Foofwa d'Imobilité) - Basel.Dancewalk (Stadt-Landschaft) © Gregory Batardon

Neopost Foofwa (Foofwa d'Imobilité) - Basel.Dancewalk (Stadt-Landschaft) © Gregory Batardon

Neopost Foofwa (Foofwa d'Imobilité) - Basel.Dancewalk (Stadt-Landschaft) © Gregory Batardon

Neopost Foofwa (Foofwa d'Imobilité) - Basel.Dancewalk (Stadt-Landschaft) © Gregory Batardon

Neopost Foofwa (Foofwa d'Imobilité) - Basel.Dancewalk (Stadt-Landschaft) © Gregory Batardon

Neopost Foofwa (Foofwa d'Imobilité) - Basel.Dancewalk (Stadt-Landschaft) © Gregory Batardon

Neopost Foofwa (Foofwa d'Imobilité) - Basel.Dancewalk (Stadt-Landschaft) © Gregory Batardon

Neopost Foofwa (Foofwa d'Imobilité) - Basel.Dancewalk (Stadt-Landschaft) © Gregory Batardon

Neopost Foofwa (Foofwa d'Imobilité) - Basel.Dancewalk (Stadt-Landschaft) © Gregory Batardon

Neopost Foofwa (Foofwa d'Imobilité) - Basel.Dancewalk (Stadt-Landschaft) © Gregory Batardon

Neopost Foofwa (Foofwa d'Imobilité) - Basel.Dancewalk (Stadt-Landschaft) © Gregory Batardon

Neopost Foofwa (Foofwa d'Imobilité) - Basel.Dancewalk (Stadt-Landschaft) © Gregory Batardon

Neopost Foofwa (Foofwa d'Imobilité) - Basel.Dancewalk (Stadt-Landschaft) © Gregory Batardon

Neopost Foofwa (Foofwa d'Imobilité) - Basel.Dancewalk (Stadt-Landschaft) © Gregory Batardon

Neopost Foofwa (Foofwa d'Imobilité) - Basel.Dancewalk (Stadt-Landschaft) © Gregory Batardon

Neopost Foofwa (Foofwa d'Imobilité) - Basel.Dancewalk (Stadt-Landschaft) © Gregory Batardon

wed 27 Sep 2017
1
20h
Neopost Foofwa (Foofwa d'Imobilité & Jonathan O'Hear) - Condanced Histories (2017)Kaserne Basel+41616666000

Foofwa d'Imobilité and Jonathan O'Hear trace the history of dance in the twentieth century. Danced demonstrations, videos and historical elements intersect to address in a personal, playful and empirical way, the major trends of contemporary dance. In the first part, it gives us a glimpse of what was dance before the twentieth century and discusses in turn the great figures who have allowed this art to become what it is today…In the second part, it develops an important aspect of this legacy—as appropriate and as requested—it may deal with transmission methods, the relationship between dance and politics, that which was born in the twentieth century and again found in today’s art, a particular trend.

sun 15 Oct 2017
1
17h
Neopost Foofwa (Jonathan O'Hear & Timothy O'Hear & Martin Rautenstrauch, in collaboration with Foofwa d'Imobilité) - DAI (Dancing Artificial Intelligence) (2017)Musée Tinguely

Robot imagined and built by Jonathan O'Hear,k Timothy O'Hear, Martin Rautenstrauch in collaboration with Foofwa d'Imobilité.

DAI is a robot with artificial intelligence developed by Jonathan O'Hear, and Martin Rautenstrauch, based on the choreographical philosophy of Foofwa d'Imobilité. DAI is meant to learn to dance and ultimately develop a certain stylistic autonomy.

DAI is supported by the city of Geneva, the canton of Geneva, Pro Helvetia - Swiss Arts Council, the Fondation Nestlé pour l'Art, the Centre culturel suisse in Paris and the Fondation ImpactIA.

Daily performance times: 11.30 am / 12.30 pm / 1.30 pm / 2.30 pm / 3.30 pm / 4.30 pm / 5.30 pm

PerformanceProcess Paris, Centre Culturel Suisse 18.09-13.12.15
tue 03 Nov 2015
1
18h
/Inutile : Don Austérité 2 (création)Centre culturel suisse+33 1 42 71 44 50

Presented for the Focus Foofwa d'Imobilité

Foofwa d'Imobilité designed this project as a residency, a morning-to-night occupation of space. When the CCS is closed, a video monitor shows his actions live in the bookshop window. For the choreographer, the idea is to continue a project on stretching time. For Jonathan O'Hear (the set designer who has worked closely with Foofwa since 2009), it is an opportunity to experiment with various phases of sleep. /Inutile : Don Austérité 2 also involves a broader reflection on “usefulness” and “uselessness”: how dance and art can make uselessness and generosity into essential social values.

wed 04 Nov 2015
1
13h
/Inutile : Don Austérité 2 (création)Centre culturel suisse+33 1 42 71 44 50

Presented in the Focus Foofwa d'Imobilité

Foofwa d'Imobilité designed this project as a residency, a morning-to-night occupation of space. When the CCS is closed, a video monitor shows his actions live in the bookshop window. For the choreographer, the idea is to continue a project on stretching time. For Jonathan O'Hear (the set designer who has worked closely with Foofwa since 2009), it is an opportunity to experiment with various phases of sleep. /Inutile : Don Austérité 2 also involves a broader reflection on “usefulness” and “uselessness”: how dance and art can make uselessness and generosity into essential social values.

thu 05 Nov 2015
1
13h
/Inutile : Don Austérité 2 (création)Centre culturel suisse+33 1 42 71 44 50
fri 06 Nov 2015
1
13h
/Inutile : Don Austérité 2 (création)Centre culturel suisse+33 1 42 71 44 50
sat 07 Nov 2015
1
13h
/Inutile : Don Austérité 2 (création)Centre culturel suisse+33 1 42 71 44 50
sun 08 Nov 2015
1
13h
/Inutile : Don Austérité 2 (création)Centre culturel suisse+33 1 42 71 44 50

Exhibitions

Foofwa d'Imobilité, whose parents were both dancers, was a member of the Merce Cunningham Dance Company before becoming a choreographer in 1998. A mischievous virtuoso who can't keep still, he constantly expands notions of dance choreography, and the stage, in particular via his dancewalks, danceruns and actions in public space.

60 years of performance art in Switzerland museum Tinguely, 20.09.2017 - 28.01.2018

Neopost Foofwa (Foowfa d'Imobilité) - Circumvolution.Dancewalk (2016, video)

Circumvolution.Dancewalk around Palais Garnier, Paris, 21 June 2016, video

On 21 Juine 2016, Foofwa d'Imobilité completes 100 révolutions dansées around the opera house from sunrise to sunset, for 16 hours and 10 minutes. This Dancewalk is the equivalnt of 62 km dance.

Neopost Foofwa (Jonathan O'Hear & Timothy O'Hear & Martin Rautenstrauch, in collaboration with Foofwa d'Imobilité) - DAI (Dancing Artificial Intelligence) (2017)

Robot imagined and built by Jonathan O'Hear,k Timothy O'Hear, Martin Rautenstrauch in collaboration with Foofwa d'Imobilité.

DAI is a robot with artificial intelligence developed by Jonathan O'Hear, and Martin Rautenstrauch, based on the choreographical philosophy of Foofwa d'Imobilité. DAI is meant to learn to dance and ultimately develop a certain stylistic autonomy.

DAI is supported by the city of Geneva, the canton of Geneva, Pro Helvetia - Swiss Arts Council, the Fondation Nestlé pour l'Art, the Centre culturel suisse in Paris and the Fondation ImpactIA.

PerformanceProcess Paris, Centre culturel suisse 18.09-13.12.15

/Inutile : TV (2015)

Durant toute la durée de PerformanceProcess, ils transmettront, sur un écran dans l'exposition, via Internet des contributions liées à l'actualité et aux projets qu'ils développeront ailleurs sous l'intitulé du corpus général /Inutile.

extraball

symposium

+

biography

bibliography

interview

images

neopost-foofwa

Foofwa d'Imobilité & Jonathan O'Hear, / Inutile : Don Austérité 2 (2015) © Simon Letellier / CCS

neopost-foofwa

Foofwa d'Imobilité & Jonathan O'Hear, / Inutile : Don Austérité 2 (2015) © Simon Letellier / CCS

neopost-foofwa

Foofwa d'Imobilité & Jonathan O'Hear, / Inutile : Don Austérité 2 (2015) © Simon Letellier / CCS

neopost-foofwa

Foofwa d'Imobilité & Jonathan O'Hear, / Inutile : Don Austérité 2 (2015) © Simon Letellier / CCS

neopost-foofwa

Foofwa d'Imobilité & Jonathan O'Hear, / Inutile : Don Austérité 2 (2015) © Simon Letellier / CCS

neopost-foofwa

Foofwa d'Imobilité & Jonathan O'Hear, / Inutile : Don Austérité 2 (2015) © Simon Letellier / CCS

neopost-foofwa

Foofwa d'Imobilité & Jonathan O'Hear, / Inutile : Don Austérité 2 (2015) © Simon Letellier / CCS

neopost-foofwa

Foofwa d'Imobilité & Jonathan O'Hear, / Inutile : Don Austérité 2 (2015) © Simon Letellier / CCS

neopost-foofwa

Foofwa d'Imobilité & Jonathan O'Hear, / Inutile : Don Austérité 2 (2015) © Simon Letellier / CCS

neopost-foofwa

Neopost Foofwa (Jonathan O'Hear & Timothy O'Hear & Martin Rautenstrauch, en collaboration avec Foofwa d'Imobilité) - DAI (Dancing Artificial Intelligence) © Simon Letellier

neopost-foofwa

Neopost Foofwa (Jonathan O'Hear & Timothy O'Hear & Martin Rautenstrauch, en collaboration avec Foofwa d'Imobilité) - DAI (Dancing Artificial Intelligence) © Simon Letellier

neopost-foofwa

Neopost Foofwa (Jonathan O'Hear & Timothy O'Hear & Martin Rautenstrauch, en collaboration avec Foofwa d'Imobilité) - DAI (Dancing Artificial Intelligence) © Simon Letellier

neopost-foofwa

Neopost Foofwa (Jonathan O'Hear & Timothy O'Hear & Martin Rautenstrauch, en collaboration avec Foofwa d'Imobilité) - DAI (Dancing Artificial Intelligence) © Simon Letellier

neopost-foofwa

Neopost Foofwa (Jonathan O'Hear & Timothy O'Hear & Martin Rautenstrauch, en collaboration avec Foofwa d'Imobilité) - DAI (Dancing Artificial Intelligence) © Simon Letellier

neopost-foofwa

Neopost Foofwa (Jonathan O'Hear & Timothy O'Hear & Martin Rautenstrauch, en collaboration avec Foofwa d'Imobilité) - DAI (Dancing Artificial Intelligence) © Simon Letellier

neopost-foofwa

Neopost Foofwa (Foofwa d'Imobilité & Jonathan O'Hear) - Condanced Histories © Gregory Batardon

neopost-foofwa

Neopost Foofwa (Foofwa d'Imobilité & Jonathan O'Hear) - Condanced Histories © Gregory Batardon

neopost-foofwa

Neopost Foofwa (Foofwa d'Imobilité & Jonathan O'Hear) - Condanced Histories © Gregory Batardon

neopost-foofwa

Neopost Foofwa (Foofwa d'Imobilité & Jonathan O'Hear) - Condanced Histories © Gregory Batardon

neopost-foofwa

Neopost Foofwa (Foofwa d'Imobilité & Jonathan O'Hear) - Condanced Histories © Gregory Batardon

neopost-foofwa

Neopost Foofwa (Foofwa d'Imobilité & Jonathan O'Hear) - Condanced Histories © Gregory Batardon

neopost-foofwa

Neopost Foofwa (Foofwa d'Imobilité & Jonathan O'Hear) - Condanced Histories © Gregory Batardon

neopost-foofwa

Neopost Foofwa (Foofwa d'Imobilité & Jonathan O'Hear) - Condanced Histories © Gregory Batardon

neopost-foofwa

Neopost Foofwa (Foofwa d'Imobilité & Jonathan O'Hear) - Condanced Histories © Gregory Batardon

neopost-foofwa

Neopost Foofwa (Foofwa d'Imobilité & Jonathan O'Hear) - Condanced Histories © Gregory Batardon

neopost-foofwa

Neopost Foofwa (Foofwa d'Imobilité & Jonathan O'Hear) - Condanced Histories © Gregory Batardon

neopost-foofwa

Neopost Foofwa (Foofwa d'Imobilité & Jonathan O'Hear) - Condanced Histories © Gregory Batardon

neopost-foofwa

Neopost Foofwa (Foofwa d'Imobilité & Jonathan O'Hear) - Condanced Histories © Gregory Batardon

neopost-foofwa

Neopost Foofwa (Foofwa d'Imobilité) - Basel.Dancewalk (Stadt-Landschaft) © Gregory Batardon

neopost-foofwa

Neopost Foofwa (Foofwa d'Imobilité) - Basel.Dancewalk (Stadt-Landschaft) © Gregory Batardon

neopost-foofwa

Neopost Foofwa (Foofwa d'Imobilité) - Basel.Dancewalk (Stadt-Landschaft) © Gregory Batardon

neopost-foofwa

Neopost Foofwa (Foofwa d'Imobilité) - Basel.Dancewalk (Stadt-Landschaft) © Gregory Batardon

neopost-foofwa

Neopost Foofwa (Foofwa d'Imobilité) - Basel.Dancewalk (Stadt-Landschaft) © Gregory Batardon

neopost-foofwa

Neopost Foofwa (Foofwa d'Imobilité) - Basel.Dancewalk (Stadt-Landschaft) © Gregory Batardon

neopost-foofwa

Neopost Foofwa (Foofwa d'Imobilité) - Basel.Dancewalk (Stadt-Landschaft) © Gregory Batardon

neopost-foofwa

Neopost Foofwa (Foofwa d'Imobilité) - Basel.Dancewalk (Stadt-Landschaft) © Gregory Batardon

neopost-foofwa

Neopost Foofwa (Foofwa d'Imobilité) - Basel.Dancewalk (Stadt-Landschaft) © Gregory Batardon

neopost-foofwa

Neopost Foofwa (Foofwa d'Imobilité) - Basel.Dancewalk (Stadt-Landschaft) © Gregory Batardon

neopost-foofwa

Neopost Foofwa (Foofwa d'Imobilité) - Basel.Dancewalk (Stadt-Landschaft) © Gregory Batardon

neopost-foofwa

Neopost Foofwa (Foofwa d'Imobilité) - Basel.Dancewalk (Stadt-Landschaft) © Gregory Batardon

neopost-foofwa

Neopost Foofwa (Foofwa d'Imobilité) - Basel.Dancewalk (Stadt-Landschaft) © Gregory Batardon

neopost-foofwa

Neopost Foofwa (Foofwa d'Imobilité) - Basel.Dancewalk (Stadt-Landschaft) © Gregory Batardon

neopost-foofwa

Neopost Foofwa (Foofwa d'Imobilité) - Basel.Dancewalk (Stadt-Landschaft) © Gregory Batardon

neopost-foofwa

Neopost Foofwa (Foofwa d'Imobilité) - Basel.Dancewalk (Stadt-Landschaft) © Gregory Batardon

neopost-foofwa

Neopost Foofwa (Foofwa d'Imobilité) - Basel.Dancewalk (Stadt-Landschaft) © Gregory Batardon

neopost-foofwa

Neopost Foofwa (Foofwa d'Imobilité) - Basel.Dancewalk (Stadt-Landschaft) © Gregory Batardon

neopost-foofwa

Neopost Foofwa (Foofwa d'Imobilité) - Basel.Dancewalk (Stadt-Landschaft) © Gregory Batardon

neopost-foofwa

Neopost Foofwa (Foofwa d'Imobilité) - Circumvolution.Dancewalk © Simon Letellier

vidéos

texts

The practice of gestures

Foofwa d'Imobilité takes up residence at the CCS for five days and nights, stretching out choreographic time to develop an ethical relationship with the audience. ...

Foofwa d'Imobilité takes up residence at the CCS for five days and nights, stretching out choreographic time to develop an ethical relationship with the audience.

I saw the work of Foofwa d'Imobilité for the first time in 1998 and was fascinated by his solos. The young dancer had just left the Merce Cunningham company, and had learned a great deal from the experience. He moved back to his native Geneva. “I'm giving myself two years to see if I have something to say,” he said at the time. The audience was in no doubt: masterful and bold, Foofwa was already a dazzling performer. “Cunningham-esque” gestures were magnificently controlled, although more baroque in style, serving a new discourse that he was still in the process of developing.

In May 2015, I ran behind Foofwa d'Imobilité along a road in the Jura. With a trombonist at his side, he “dancewalked” from La Chaux-de-Fonds to Yverdon-les-Bains via Neuchâtel. This was his first Dancewalk, a choreographic piece covering a hundred kilometres in three days, presented as part of the Swiss national dance festival. Every metre he travelled gave rise to an elaborate piece of dance. He shunned repetition, eager to avoid remaining within a comfortable form. People honked their horns at him, others followed him or pointed at him. Perhaps he saved up his stamina to stay the course, but there was no sign of this. Foofwa as a “dancewalker” delivered a performance that was not only sportsmanlike, but also social, ethical and aesthetic.

When I left him in the village of Valangin, it occurred to me that the dancer I'd first seen in 1998 wasn't just content with keeping his promises like a good boy. For seventeen years, performing solo and with his company Neopost Foofwa, he has been drawing audiences into his exploratory work and, as a “practical and theoretical dance researcher” (as he calls himself), reappropriating means of visibility outside habitual frameworks, but in a spirit of mutual understanding with institutions (la Fenice, Venice in 2012, the CND several times, the Comédie de Genève next year). The Dancewalk, which has since been reproduced at fun runs in Bienne and Winterthur, is in itself something of an instruction manual. To understand it is to capture something essential about the choreographer's artistic approach.

What does Foofwa do when he “dancewalks”, and more broadly when he dances? He brings the commonality of a gesture back into play, performs it, and articulates it with the audience's gestures. On the way, in the sensitive way he develops his gestures, he explores what circulates, what contaminates, and what is shared with the audience. He gives himself the opportunity to see how other footsteps resonate with his own. The philosopher Emmanuel Lévinas said that ethics is distilled face to face. The intersubjective systems implemented by Foofwa contain the possibility of sharing the ethical bond and its corollary—a transformation for both the performer and the spectator.

With Jonathan O'Hear, the company's joint artistic director and lighting designer, Foofwa takes up residence at the CCS for five days and nights. His goal is to share with the audience what he calls “the practice of ethical gestures”. The choreographer asks: “What does handling an object together, so that the user is reborn into a non-utilitarian poetics, actually involve? What does shaking hands mean, and how can we reinvent this gesture of greeting so that it becomes (once again) a gift to the other? How can we discuss what is happening in the present so that words are not futile and so that meeting the other person is not in vain? What does “daring to give so that we fear each other less” entail? In the process, he carries on his research into stretching choreographic time (72 hours occupying the Théâtre de l'Usine in 2004, 100 hours at the Villa Bernasconi in 2006, and the Dancewalk discussed above). In the CCS gallery space he combines everyday gestures, textual and virtual media, a sophisticated set, private letters read aloud, note-taking... “I like showing something that's finished,” explains Foofwa, “but I also like showing work and creativity in a state of effervescence, mechanisms laid bare, and on-going production. At the CCS, the spectator enters our factory and takes part in it. Our body moves, while people and the outside world come to us. We'll see how we can coexist, Jonathan and I, in terms of both work and performance. How our working process continues, and how illusion copes with the real world.”

 

Anne Davier, arts specialist who has worked at the ADC since 2000

links