zoome – English Translation – Keybot Dictionary

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  Ottof | Kunstenfestival...  
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C’est parce qu’elles sont issues de traditions populaires très riches qu’elles sont constamment actuelles. Je zoome sur des qualités qu’elles ont, que l’on ne voit pas ou qu’elles n’ont pas vu. Ce n’est pas un travail sur la rencontre de la tradition et de la modernité.
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In everyday life, they mostly dance for neighbours or their families. I turned up at a time in their lives when they weren’t expecting it, and vice versa. Confining them to tradition is not fair. They’re very modern and connected to the world. I myself don’t know whether it’s modern dance. I’ve taken courses, but I didn’t learn to dance at school. It’s because they come from very rich folk traditions that they’re always current. I zoom in on the skills they have, that people don’t see or that they themselves haven’t seen. It’s not about an encounter between tradition and modernity. People often like to simplify things; they often say that I studied modernity in France and tradition in Morocco. That’s too simplistic. I’ve worked on my “modern” dance here in Morocco, in a night-time environment, the one they operate in. Every evening they’re in front of an audience that has to be convinced. In these circumstances, their main skill is not their mastery of tradition but a real capacity for improvising on the spot, for captivating an audience who are not always respectful, have often been drinking and are impatient. They’re very modern and achievement oriented. That’s what drew me to them.
  Take The Floor | Kunste...  
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Du réel, Michel François prélève, recadre et repositionne des fragments, zoome des situations, fige des instants qui, mis en lumière, traduisent la subjectivité de l’être, déterminent sa singularité et son irréductibilité à des schémas et à des modèles uniformes.
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Belgian artist Michel François (1956) was born in Sint-Truiden. Using sculpture, photography, video and installations, Michel François takes on, shakes up and questions a reality through which he has become something of a nomad for some time. From real life, Michel François takes, re-frames and repositions fragments, zooms in on situations, fixes moments that, when highlighted, translate the subjectivity of man and determine his singularity and irreducibility into schemas and uniform models. Michel François’s deeply playful, poetic and generous view turns the immediate environment into an exotic and sensual show in which the acting and surprise, but also the solemnity and incongruity, reveal the depth and density of mankind. In keeping with his “channel-hopping” way of looking at things, Michel François also works on staging the object by reformulating the relationship between the work and the exhibition, making the relationships between art and reality more dynamic. His exhibitions include Documenta IX, Kassel, 1992; Palais des Beaux-Arts de Bruxelles, 1992; 22nd Sao Paulo Biennale, 1994; Witte De With, Rotterdam, 1997; Kunsthalle in Berne, 1999; Venice Biennale 1999; Haus der Kunst, Munich, 2000; Art Pace Foundation, San Antonio, Texas, 2004; SMAK, Ghent, 2009; Institut d’art contemporain, Villeurbanne, 2010; Mac’s Grand Hornu, 2012; CRAC, Sète, 2012; and IKON Birmingham 2014. He has also collaborated on several occasions with the choreographers Anne Teresa De Keersmaeker and Pierre Droulers. He teaches at the École Nationale des Beaux-Arts in Paris.