Initiated in 1993 by La Ribot, the Distinguished Pieces project is a long- term work which will eventually lead to the creation of 100 pieces. Up to 7 minutes in duration, each of the «Distinguished Pieces» created thus far have been arranged into different groupings and presented as a series of performances. «Distinguished Hits» brings together a new reconfiguration of some of the early Pieces that were included in the series presented between 1993 -2000 along with the solo «Oh Socorro! Gloria!» (1991). Under this new title, the word ‘hits’ evokes the idea of emblematic pieces - which are just a small part of this on-going work. When La Ribot created «Soccoro! Gloria!» in 1991, it heralded the principals that she would go on to develop with the continually evolving «Distinguished Pieces». This burlesque striptease plays with the expectations of the spectator as the ‘distinguished’ method is applied: juxtaposing an unusual combination of clothes and accessories with music, the layers on her body highlight different physical states and poetical outbursts. Inventing a choreographic format that claims brevity, borderline humour and economy of means, the feminine figure is in constant metamorphosis, combining savagery and refinement with delicacy and destructive irony. Disguised modes of use, exuberant fashion shows, precarious installations, ephemeral manifestos; all these ingredients are mixed, touched and diverted to form a carefully constructed bric-a-brac, which uses nudity as a weapon and scrutinizes the image of the body under all its seams. In 2003, the anthology version, Panoramix, brought together the first three series: 13 Piezas Distinguidas, 1993, Más Distinguidas 1997 and Still Distinguished 2000. Distinguished Hits (1991-2000) is a compact new reconfiguration: a laminate which allows us to both examine each piece as an autonomous haiku and replace them on the canvas of this vast performative patchwork.
A Spanish choreographer who lives in Geneva, she takes new angles on genres, techniques and forms. She presents her work on stage and in exhibition spaces. As a dancer and performance artist, she also explores ways of using the video camera on stage, for installations, or using existing images.
60 years of performance art in Switzerland museum Tinguely, 20.09.2017 - 28.01.2018
The performance Despliegue is recorded on film by two cameras: the first, static camera films the artist's actions in top view. The second camera is held by La Ribot and - independently of the artist's gestures - records what is happening around her.
La Ribot prepares pa amb tomàquet (bread with tomato) while holding the camera in her right and the knife in her left hand, musically underscored by the pianist Carlos Santos. With a small feminist twist, the work parodies a scene from Alfred Hitchcock's Psycho.
PerformanceProcess Paris, Centre culturel suisse 18.09-13.12.15
Mobile random installation of 50 pokerworked chairs. On each chair, the beginning of the quote is marked by a metal ring. Her installation Walk the Chair is presented throughout the exhibition. The chairs can be used freely by visitors. A leaflet presents all the quotes engraved on the chairs, with the names of the authors.
For La Ribot, everything is a pretext for movement: of the body, of the camera, or of the mind. ...
For La Ribot, everything is a pretext for movement: of the body, of the camera, or of the mind.
La Ribot, who was born in Spain and lives in Geneva, is often introduced as a dancer, choreographer and live artist—but this very general description oversimplifies what she actually does. She is, in fact, a radically cross-disciplinary artist: the starting points for her projects are movement, the body, and dance from which she extracts the very essence; she then adopts different approaches, systems and materials inspired by her concept. As well as dance and live performance, her work may also feature video, the spoken word, written texts and signatures, objects and installations, and “relational” experiments involving the participation of artist colleagues or the uninitiated.
In the video entitled Treintaycuatropiecesdistingueesandonestriptease (2007) La Ribot documents her 34 Pièces distinguées (1993–2003), the solo performances that made her famous. It also includes the artist's favourite recordings showing her at different points in her career and highlighting various tonalities in her work: humour, absurdity, extravagance and elegance, as well as melancholy and troubling aspects.
In Another Pa amb tomàquet (2002), presented this autumn at the CCS, she used video as an experimental tool in the performance: a film made with a camera carried by the performer herself showed things as “seen” by the entire body, not only the eyes.
Walk the Chair (2010) used La Ribot's favourite piece of furniture, the wooden folding chair, and invited visitors to become performers. A set of chairs was offered to visitors, who could move them around, sit on them, or “read” them, as they were covered in phrases about movement and the notion of the “mere spectator”.
Rachel Withers, an art critic who writes for Artforum International
move = change position/progress, develop/live in a different place/begin doing/change subject, time etc/change opinion/affect somebody emotionally/spend time with group/sell and get rid of/go very fast/make a formal proposal/leave a place. ...
move = change position/progress, develop/live in a different place/begin doing/change subject, time etc/change opinion/affect somebody emotionally/spend time with group/sell and get rid of/go very fast/make a formal proposal/leave a place.
DICTIONARY MC MILLAN
My first idea of movement, of dance, certainly came from the rhythm of the waves.
To movement, then, everything will be restored, and into movement everything will be resolved.
The swing of weight is the key to movement.
It is something strictly American to conceive a space that is filled with moving, a space of time that is filled, always filled with moving.
It's curious that beautiful things always have something to do with movement.
The style of a thought is its movement.
Laziness is the absence of movement and thought, dumb time, total amnesia.
Movement never lies. It is a barometer telling the state of the soul's weather to all who can read it.
“woman movement” it was a celebratory movement, full of optimism for the empowerment of women in the cause of social reform.
There is no doubt, in the inert world, the wave moves, and therefore sometimes communicates. It moves matter, it moves energy and it moves information. The wave thus emits, receives and communicates.
Movement is lyrical and emotional expression, which can have nothing to do with words.
Some individuals never develop the public side of their personality and, as a consequence, they can never fill a public space.
EDWARD T HALL
The spectators become the organisers of their impulses and of their aesthetical experience. Through catharsis, they internally mobilise unexercised aggression or anesthetised eroticism.
ADOLFO VÁSQUEZ ROCCA
I dream of an exhibition that's not stationary, in constant movement.
In the case of human beings, the sense of space and distance is not static.Their perception of space is dynamic since it is related to action rather than to what can be seen through passive contemplation.
EDWARD T. HALL
To dream of moving in an exaggerated way in public, signifies some unexpected good fortune will come to you.
DICTIONARY OF DREAMS. ED. LTD
My dear, you must never do what everybody does.
ISADORA DUNCAN MOTHER
When the roles of author, actor and spectator are not clear for any of the people playing those roles, then something interesting begins.
Promiscuity usually implies a very intense sensorial life.
EDWARD T. HALL
One must introduce in the diagnostic of our times, a kinetic and kinesthetic dimension because, without such a dimension, all discourse about modernity will completely bypass that which in modernity is most real.
kinetics = the science that studies movements and the changes they cause.
DICTIONARY MC MILLAN
Containing no art objects as such: the art was experienced as a surrounding rather than a picture or sculpture to be looked at—a surrounding which engaged the visitor with things to move, switches to manipulate, obstacles to climb, and food to eat.
Don't look for the meaning, look for the use.
Artistic practice is always related to another person and at the same time it constitutes a relationship to the world.
It's time to increase the responsibility of the observer.
A genre of participatory and socializing art has developed in response to perceived fragmentation within society.
Borges says that reading is much more civilized than writing.
Gide was reading Bossuet while going down the Congo.
To speak of the body of course, is a verbal deception.
Writing is itself violent. It is, in fact, the violence of writing that separates it from speech, reveals the force of inscription in it, the weight of an irreversible trace.
READ THIS WORD THEN READ THIS WORD READ THIS WORD NEXT READ THIS WORD NOW SEE ONE WORD SEE ONE WORD NEXT SEE ONE WORD NOW AND THEN SEE ONE WORD AGAIN LOOK AT THREE WORDS HERE LOOK AT THREE WORDS NOW LOOK AT THREE WORDS NOW TOO TAKE IN FIVE WORDS AGAIN TAKE IN FIVE WORDS SO TAKE IN FIVE WORDS DO IT NOW SEE THESE WORDS AT A GLANCE SEE THESE WORDS AT THIS GLANCE AT THIS GLANCE HOLD THIS LINE IN VIEW HOLD THIS LINE IN ANOTHER VIEW AND IN A THIRD VIEW SPOT SEVEN LINES AT ONCE THEN TWICE THEN THRICE THEN
A FOURTH TIME A FIFTH A SIXTH A SEVENTH AN EIGHTH.
I think a lot about "space writers" - the writers who get paid by how much they write. I always think quantity is the best gauge on anything (because you're always doing the same thing, even if it looks like you're doing something else), so I set my sights on becoming a "space artist".
The viewer became a reader an active participant.The readers had to make or deduce the art experience for themselves.
Language exists only when heard and spoken.
Walk… I definitely must, to invigorate myself and to maintain contact with the living world, without perceiving which I could not write the half of one more single word, or produce the tiniest poem in verse or prose. Without walking, I would be dead, and my profession, which I live passionately, would be destroyed…Without walking, I would not be able to make any observations or any studies at all… On a lovely and far-wandering walk a thousand usable and useful thoughts occur to me. Shut in at home, I would miserably decay and dry up. Walking is for me not only healthy and lovely, it is also of service and useful. A walk advances me professionally and provides me at the same time with amusement and joy; it refreshes and comforts and delights me, is a pleasure for me, and simultaneously, it has the peculiarity that it allures me and spurs me on to further creation, since it offers me as material numerous small and large objectivities upon which I later work at home, diligently and industriously. A walk is always filled with significant phenomena, which are valuable to see and to feel.
Walt Whitman in a book is alive, but Walt walking, dancing is LIFE!
As a single footstep will not make a path on the earth, so a single thought will not make a pathway in the mind. To make a deep physical path, we walk again and again.
HENRY DAVID THOREAU
There is no single correct way of walking. Anyone's method is appropriate for that person. Walking, like eating, drinking, telling stories, smiling, getting dressed and undressed, and even some kinds of patterned dancing, provided a wealth of material to explore.
Walking becomes a method of remembering as participants pace about reciting texts.
Motion was the act of putting one foot in front of the other and allowing himself to follow the drift of his own body.
The folding chair was once an icon of design revolution. H. Meyer's 1926 had two, one unfolded, one folded on the wall ready for deployment.
Folding furniture can be folded into a shape or position that uses less space.
DICTIONARY MC MILLAN
It is always changing. It has order. It doesn't have a specific place. Its boundaries are not fixed. It affects other things. It may be accessible but go unnoticed. Part of it may also be part of something else. Some of it is familiar. Some of it is strange. Knowing of it changes.
This distance between object and subject that creates a more extended situation, for physical participation becomes necessary.
If knees bent the other way, what would chairs look like?
Chairs are the signs of the absence and the ersatz of the human person. They represent shallowness and the impossibility of communicating. They constitute obstacles to the liberty of movement.
A common folding chair – the type often used in parks and other public spaces – evokes the masses and breaks with behavioural conventions, that go against the chair's normal usage and the comfort of the body.
Because of the chair's intimate relationship with the human body, the names of its parts, seat, back, arms – describe the human form.
I had a dream, all art-objects in the world, millions and millions of them became alive and they all ate us.