Matthieu Barbin

What is your discipline, your profession? (How would you name and define it)

I think it would be too conventional to define myself as a dancer, too overused to call myself an artist, and too vulgar to say choreographer...so I really don’t know.   I create — alone or with colleagues — I try to question my artistic work and keep performing, along with other artists.

What does choreography mean to you today?

A place, a building-up of archives, architecture, a book, a postcard, a picture, a conference, a scientific study, an article, a Tarot deck, a drawing, a sculpture, a nightclub, material, a costume, a space...maybe everything but dance.

What are you are working on at the moment and/or what’s on your mind?

Obliteration, the body as a tool, territory, memory, shapes and prisms, the body as an archive, communication of science and arts, plasticity of performance space... I cannot tell whether it is the subjects or myself which impact the other, but I need the presence of a mutually obsessive link in this relationship. 

Which artists have been important for you? (all fields combined) 

Roland Barthes, Pierre Huyghe, Jay McInerney, Boris Charmatz, Rebecca Solnit, ghosts, The UPSBD, Michael Ackerman, Alix Eynaudi, Eikoh Hosoe, Apichatpong Weerasethakul, SMITH, Julien Salaud, and others. 

What have you learnt or discovered from them?

That you can learn everything and then reject it all without following fixed rules. That everything does not have to be created within a masochist relationship. That you should not try to invent things, or to invent yourself. That one constantly needs to question shapes and suggest new media. Finally, that one should suggest but never impose.

How do you see the relationship with audiences?

I imagine it horizontally. I feel the need the share where I am at artistically. I wish to ask questions and suggest keys to understanding that audiences can take and then leave. I wish that when people attend my performances, they leave with filters that they can use or not, as they fancy. Filters which question things, either sooner or later...and keys which will allow them to dive into the unknown and expand their boundaries. 

What is missing today?

New ways of thinking? 



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October 2020

  • 10 October to 4 January
    "100% polyester, objet dansant n° (à définir)" by Christian Rizzo and Caty Olive

    FRAC, Franche-Comté

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