Jordi Galí

Id Jordi Gali Jean Rochereau
© Jean Rochereau

Career path
I was led to creation by the path of performance. By starting dance as a child and entering the conservatory at an early age, I had the chance to begin a rich and intense professional life very quickly. First in Barcelona (with Emilio Gutiérrez), then in Brussels (with Wim Vandekeybus and Anne Teresa De Keersmaeker) and then in Lyon (with Maguy Marin), among others. The study of form and the exploration of feeling - as well as their concordance - have been at the heart of my practice of dance throughout my career. Even to this day, the sensitive relation to the body remains central to my creations. When I was looking for my own choreographic writing, I realized that the choreographic languages I had experienced were engraved in me, to the point where they had become obstacles for me. They resurfaced through an overflow. To rediscover gestures, another way of "doing", of acting through "gesture". I had to go back and find a clean, old territory. And it is from this place, that these influences were able to become positive and constructive again. It is then, and from this old territory reopened in a new actuality, that my pieces arise.


Object
In an intuitive way, to find a new relation to my body and to movement, I needed to introduce the presence of the object, which offered me the possibility to move, to distance my gaze from the action and to find a new meaning to the impulses of my body. It then became clear to me that the link we maintain with the material transforms us profoundly and visibly. Our development as living beings, our anatomy, our senses, are all the fruit of the multiple and permanent exchanges between everything that surrounds us and ourselves. And we also see the world being inexorably transformed by human action. The articulation between gesture and matter, between the individual and the world composes the place for a dual, permanent and transformative exchange.


— Gesture
What piques my interest nowadays is to understand how a gesture is constituted, articulated, learned and transmitted. The learning process of a gesture, its repetition throughout one's life, as well as its transmission through generations, allows one to reach a form of acuity, precision and efficiency until it eventually becomes a non-verbal knowledge. Gesture is shaped in time, constrained, informed. A delicate balance then arises between function and lightness: the easy gesture of the musician, the acrobat, the potter, the farmer or the blacksmith is only achieved through hours and hours of rehearsal. Today I am a choreographer and the team of performers who accompany me in my creations is mostly from the dance world. Our working tools are therefore those of the dancer: perception, memory of the gesture, precision, coordination, rhythm, presence. We try to create and assimilate deeply the necessary gestures to restore them with ease and simplicity to the spectator's eyes. By seeking to transform and compose the dancers' bodies through the material they work with, I try to propose the possibility of a new relationship to the world, both for the performer and for the spectator.


Outside
For many years I have left the stage to invest the public space and the landscape. The first proposition that specifically required an open space was the creation of Ciel. This experience generated a new framework of constraints and interactions that proved to be extremely rich, both humanly and artistically, over time. After years spent working and dancing on dark stages, in closed studios, the experience of the outside and of the public space became delightful and liberating. A major challenge. Being outside allowed me to place the dancer's gesture and the spectator's gaze differently than on a stage. Outside, the dancer's space, the spectator's place, the light, the sound, become moving data. It takes negotiating with a landscape, a city, that are ever-changing. I tried to make my writing complementary and compatible with this new environmental challenge. Working in the public space and for the public space has thus allowed me a direct, immediate contact with a multitude of people who are not familiar with the dance stage, but it also allowed me to explore new directions and to experiment a monumental dimension in the relationship with the object. Empirically, I have found that our relationship to form is altered by the relationship of scale and that our perception of ourselves and of the place we are in is influenced and transformed by the volume we observe.


— Time
With my creations I also tried to produce a time during which the spectator can rediscover and reactivate in their perception a context that they already know, in which they have their habits, their own landmarks. A new relationship to time has thus been created throughout the pieces. A landscape, a city, have their own time, regulated by natural cycles and human, individual and societal transformations. And I believe that the perception we have of this time is necessarily linked to space and displacement. My creations are then an invitation for the spectators to choose their own temporality, to take — or lose — the measure of time. To take the time to be where they are.


— Creations
Over the last ten years, I have explored the relationship of gesture with the object, the outside and time, through creations that explore them in different ways each time. We thus went from the manipulation of a simple object, to the assembly of a set of objects and materials, to finally build ephemeral architectures. These creations explore different times, up to several hours duration for the final ones. Several pieces are now in the repertoire, mainly thought for the public space: object/machine and body/wheel for a game of balance in T (2008); builder's gestures in Ciel (2010); I then moved from solo to trio in a more architectural approach with Abscisse (2012); then teamwork became fundamental in the appearance of a monumental architecture through Maibaum (2015); I eventually replaced the object with "bodies working with bodies" with ORBES (2018). Pavillon Fuller (2017) and Babel (2019) attempt to make it a collective and participatory experience.


— Creation process
Through the years and the successive creations, I have developed my own work methodology, transversal to the different creation processes. First - and probably the most important - I have seen an artistic team being created and consolidated over the years around my proposals. For the most part they’re performers with other companies or project leaders themselves, and we managed to preserve a faithful working group. And it is with their help, creativity and energy that the pieces come to fruition. The collaboration with Vania Vaneau is also fully a part of this teamwork. Her position as choreographer and co-director of the company, her overall view and vision of the particularities of the projects, the formal and informal exchanges, her own sensitivity, are the driving forces that allow me to move forward with the projects in a demanding and creative way. On the last creations, we made the bet to work slowly. From the first research residencies to the creation residencies to end up with the première, it's almost three years of work. This temporality allows the maturation of the project and leaves room for the empirical approach, which is the basis of my work, especially for everything that concerns the very technical aspects linked to the principles of construction. Rather than calling upon experts, each technical realization is thus the fruit of a succession of tests patiently assimilated until they became intimately integrated. This importance given to time is coupled with the attention given to the working spaces. With my pieces being thought for the public space but requiring a work of body, I seek to alternate time in studio and time in the public space. The latter is then essential at the end of the creation in order to start testing the future conditions of play.

highlighted dates: public open activities

Archives

January 2022

  • 13 to 14
    [​Premiere]​ "miramar" by Christian Rizzo
  • 18
    "une maison" de Christian Rizzo
  • 20
    Fenêtre sur résidence — La Tierce
  • 22
    "miramar" de Christian Rizzo
  • 25
    Atelier EN COMMUN — Christine Jouve et Catherine Beziex
  • 26 to 28
    "miramar" de Christian Rizzo

    ThéâtredelaCité, CDN de Toulouse / Occitanie
    in the framework of festival ICI & LÀ de La Place de la Danse, CDCN de Toulouse, Occitanie

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  • 27 to 28
    "magma" — Marie-Agnès Gillot, Andrés Marín et Christian Rizzo

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February 2022

  • 1
    Atelier EN COMMUN — Christine Jouve et Catherine Beziex

    de 18h à 20h, à ICI—CCN [tous publics]

  • 2 to 5
    "en son lieu" de Christian Rizzo

    CENTQUATRE-PARIS

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  • 8 to 10
    Exercice commun — Master exerce

    ▪ Mardi 8, mercredi 9, jeudi 10 février à 19h
    → à ICI—CCN
    Entrée libre sur réservation

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  • 8 February to 2 April
    Exposition — Clarissa Baumann

    Du mardi 8 février au vendredi 1er avril 2022 — La chambre d’écho
    → Entrée libre (jauge limitée)

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  • 11 to 12
    "miramar" de Christian Rizzo

    En savoir plus

  • 15 to 16
    Nebula — Vania Vaneau

    ▪ Mardi 15 et mercredi 16 février à 20h
    → Studio Bagouet, ICI—CCN
    13€ / 9€ / 5€

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  • 21 to 25
    Pratique du matin / exerce — Laura Kirshenbaum

    ICI—CCN → 10h à 12h [danseurs professionnels et avancés]
    → Tarif : 30€ la session de 5 cours / Présence exigée sur l’ensemble de la session

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  • 22
    Atelier EN COMMUN — Christine Jouve et Catherine Beziex

    de 18h à 20h, à ICI—CCN [tous publics]

  • 23
    Club de danse — Kidows Kim​​

    ▪ Mercredi 23 février Kidows Kim
    Public : tous publics à partir de 15 ans
    Tarifs : 7€ l’atelier / Tarif super réduit : 5 € / Yoot : 5 €

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  • 24
    Fenêtre sur résidence — Kidows Kim

    ▪ Jeudi 24 février à 19h
    → à ICI—CCN
    → Entrée libre sur réservation

    Kidows Kim est en résidence de recherche et de création du 21 au 27 février, puis du 11 au 16 avril 2022

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March 2022

April 2022

  • 5
    Atelier EN COMMUN — Christine Jouve et Catherine Beziex

    de 18h à 20h, à ICI—CCN [tous publics]

  • 11 to 15
    Pratique du matin / exerce — Isabela Santana

    CI—CCN → 10h à 12h [danseurs professionnels et avancés]
    → Tarif : 30€ la session de 5 cours / Présence exigée sur l’ensemble de la session


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  • 11 to 14
    "miramar" de Christian Rizzo

    En savoir plus

  • 14
    Par/ICI: Gau - Guérédrat - Pi — Soirée projection film et table ronde

    — Soirée projection film et table ronde

    ▪ Jeudi 14 avril à 19h

    → Studio Bagouet, ICI—CCN
    5€

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  • 20 to 21
    Par/ICI: Gau - Guérédrat - Pi — WOMEN PART 3

    — Soirées performatives
    ▪ Mercredi 20 et jeudi 21 avril à 20h
    → Studio Bagouet, ICI—CCN
    5€

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  • 23 to 30
    "miramar" de Christian Rizzo

    Teatro Municipal do Porto / Festival DDD – Dias da Dança (Portugal)

  • 24 to 25
    "miramar" de Christian Rizzo (dates à confirmer)

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  • 25
    Club de danse — cohue

    ▪ Lundi 25 avril - cohue

    → à ICI—CCN
    Public : tous publics à partir de 15 ans
    Tarifs : 7€ l’atelier / Tarif super réduit : 5 € / Yoot : 5 €

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  • 26
    Atelier EN COMMUN — Christine Jouve et Catherine Beziex

    de 18h à 20h, à ICI—CCN [tous publics]

  • 28
    Fenêtre sur résidence — cohue

    ▪ Jeudi 28 avril à 19h
    → à ICI—CCN
    Entrée libre sur réservation

    cohue est en résidence de recherche et de création du 18 au 29 avril 2022

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