There’s a tone of dirty stuff in the cupboard that we want to share, not to contaminate but to make a party with it. A party to shake the ego-trip into a carpet full of love. We would cook a piece of space to feed your pretty cute ass. I love how you keep going in the garbage of pain to let the transformation happen into the joy of searching with one another. The middle of the room is recording an act of eternal revenge and this time we want the guns down, the guns off, lying on the floor. After the fight, after the make-up, after having sex, after stretching, after a huge sound.

Performance: Anna Faber, Lyllie Rouvière
Choreography: Lyllie Rouvière
Costume: Anastasios Kelp
Light: Bruno Pocheron
Text: Lyllie Rouvière
Photos: Arnaud Ele

LOVE: 15, an invitation by @solistenensemble.kaleidoskop

A production by the soloist ensemble Kaleidoskop. Supported by the Hauptstadtkulturfonds. The soloist ensemble Kaleidoskop receives basic funding from the Berlin Senate Department for Culture and Europe in 2022.

Media partners: taz. die tageszeitung, tip Berlin, ExBerliner and Ask Helmut.

 

A SPACE IS A SPACE IS A SPACE is a performative and narrative exhibition to probe notions of social context, public space and performance as possible discursive platforms. The exhibition orchestrates a polyphony of perspectives relating to staged realities: the physical space of the DAZ, the urban environment on the banks of the river Spree, the Internet and editorial practice as sites of public exchange. The exhibition invites visitors to compose or deconstruct their own propositions within these spaces through documents or objects that are then activated within or beyond the site.
In a space is a space is a space, Lyllie Rouviere will experiment with Hanna Kritten Tangsoo a danced-study called DIE VERNISSAGE. They will analyse what happens in situ between people, objects and architecture. A choreography will emerge from this place to deform this apparent reality.

CREDITS
Concept: Lyllie Rouviere
Collaboration: Hanna Kritten Tangsoo
Performance: Shahab Anousha, Jamie Evans, Forough Fami, Hanna KrittenTangsoo, Reza Mirabi, Lyllie Rouvière, Lisa Schug, Xenia Taniko Dwertmann, Jeronimo Vignera
A project in collaboration with bureau des arts plastiques, institut français, Galerie Michel Rein, Paris, Galerie Olivier Robert, Paris, OFAJDFW, DAZ

VENUE
October 2015, DAZ – Deutsches Architektur Zentrum, Berlin (DE)

TEASER
Performance Die Vernissage: https://vimeo.com/142100726#t=600s (10:00 – 16:08 min)

Photos © schnepp • renou

In un peu de romantisme the concept of a landscape maquette becomes the space of departure. When we think of the main use of a scale model we relate this to the acts of organising, projecting and developing strategies for using space. Here, the landscape maquette in reverse bring the dialectic state between being built and falling into disuse and decay. A ghost-inhabited space where past, present and future are intermingled.

CREDITS
Choreography and performance: Lyllie Rouvière
Support: Hochschulübergreifendes Zentrum Tanz, Berlin (DE)

VENUES
June 2016 P-Bodies Festival, Leipzig (DE)
April 2016 BA-Festival HZT, Berlin (DE)

 

Habiter serait maintenant un lieu où l’on pense au quelque part en ayant oublié le vivre. Ce serait croire que l’abolition des distances suffit à prendre possession de l’espace, que sa désormais apparente unification suffirait à le rendre entier. Pourtant, il est sans doute toujours aussi fragmenté, il est peut-être même plus qu’avant ici et ailleurs. Ce quelque part superpose passé et futur, naturel et artificiel, il se construit par des répétitions, des coupures, des accélérations, il est collage. Qu’habitons-nous lorsque nous avons une telle capacité à connaître un espace dispersé ?

 

CREDITS
Choreography: Lyllie Rouvière
Performance 2018: Jukek Kreutzer, Ivan Ekemark
Performance 2015: Virag Arany, Ivan Ekemark
Sound: Patricia Delasalle
Light (during Festival Artdanthé): Marie Nicolas
Production: Zaxt
Co-production: Théâtre de Vanves | DRAC Ile-de-France – Ministère de la Culture, aide au projet.
Sponsorship: BBG architectural agency | Arscenes scenography agency | with the support of HZT Berlin
Lyllie Rouvière and Zaxt association received support from A.V.E.C. established by Théâtre de Vanves, Arcadi-Pôle Ressources and Bureau Cassiopée.

VENUES
September 2018, Iran (IR)
April 2015, Uferstudios, Berlin (DE)
Premiere March 2015, Festival Artdanthé, théâtre de Vanves, Vanves (FR)

PRESS
« Schwärmen révèle l’étrangeté dans la normalité du bâti »,
Schwärmen: une première pleine de promesses, (read more) Quentin Guisguand, Inferno magazine

Photo: Volker Hormann
Video Jacques-André Dupont, April 2015, Uferstudios, Berlin (DE)

What brings a space to life? In Un Peu de Romantisme Lyllie Rouvière creates interactions between human-bodies and non-human bodies using awareness and observation. Over time and through movement the performer is slowly transformed into a hybrid object-plant-animal. A series of gestures builds an architecture in relation to a landscape composed of vegetation, geometrical abstract forms and the human body. A dialectic state between that which is built and that which is falling into disuse and decay starts to emerge. The reduced scale and minimalistic approach to movement and space attempt to enter into the silence and the rhythm of a ghostly romantic landscape with its indeterminate inhabitants, open to the potential of unexpected phenomena.

CREDITS
Choreography: Lyllie Rouvière
Performance: Ewa Dziarnowska
Support: Hochschulübergreifendes Zentrum Tanz Berlin, Collegium Hungaricum Berlin

VENUE
Juin 2017, Performing Arts Festival Berlin | FORMS festival – Collegium Hungaricum, Berlin (DE)

TEASER
un peu de romantisme: https://youtu.be/pxJ3IBbPxfM?t=4m52s (4min52 – 5min12)

Photos copyright: MontagModus

Air-conditioning is a process of controlling heat to improve the comfort of a space. “Like in the Middle Ages, air-conditioning sustains our cathedrals” (architect-urbanist Rem Koolhaas). Air-conditioning is the spine of generic cities. From this spatial context, Air-conditioning drives a dancer into a breathing journey. Sensitively, she lets herself be contaminated by the successive accumulation and shifting temperatures in the room and the materiality of Junkspace’s text. By incorporating symptoms of change and finding a way to continue to breath, a strange ritual appears. The body is transformed and hybrid creatures appear, escaping conditioning and opening new waves of circulation.

« Junkspace seems an aberration, but it is the essence, the main thing…the product of an encounter between an escalator and air-conditioning. Continuity is the essence of Junkspace; it exploits any invention that enables expansion, deploys the infrastructure of seamlessness: escalator, air-conditioning, sprinkler, fire-shutter, hot-air curtain… It promotes disorientation by any means (mirror, polish, echo)…Junkspace is sealed, held together not by structure but by skin, like a bubble. Gravity has remained constant, resisted by the same arsenal since the beginning of time; but air-conditioning- invisible medium, therefore unnoticed-has truly revolutionized architecture. Air-conditioning has launched the endless building. If architecture separates building, air-conditioning unites them. Air-conditioning has dictated mutant regimes of organization and coexistence that leave architecture behind. A single shopping center is now the work of generations of space planners, repairmen, and fixers, like in the Middle Ages; air-conditioning sustains our cathedrals. Because it costs money, is no longer free, conditioned space inevitably becomes conditional space; sooner or later all conditional space turns into Junkspace…Junkspace is the body double of space, a territory of impaired vision, limited expectation, reduced earnestness. Junkspace is a Bermuda Triangle of concepts, an abandoned petri dish: it cancels distinctions, undermines resolve, confuses intention with realization. It replaces hierarchy with accumulation, composition with addition. More and more, more is more. Junkspace is overripe and undernourishing at the same time, a colossal security blanket that covers the earth in a stranglehold of seduction… Junkspace is like being condemned to a perpetual Jacuzzi with millions of your best friends… »
Extract from Junkspace, Rem Koolhaas, 2002

CREDITS
Choreography: Lyllie Rouvière
Performance: Jukek Kreutzer
Support: Ada Studio | Hochschulübergreifendes Zentrum Tanz Berlin | Uferstudios-Team

VENUES
November 2018 Centre d’art La Fenêtre, Montpellier (FR)
January 2018 Nah Drahn 68, Ada Studio, Berlin (DE)
October 2017 Rush in 2, Uferstudios, Berlin (DE)

Thanks to: Xenia Taniko. Laurent Chétouane (mentor)