TRIPTYQUE PROTOTYPE 

2020 / Video

length: 2minutes 44secondes Original Formats: three 4K square screen 1:1 Cinemascope (2,39:1 & 3840×1606 ) on cinema screen Writter: Manon Oligny & TOMA Choreography: Manon Oligny Dancer and choregraphy collaboration:  Marilyn Daoust Music: Paradise Now Second camera, eyes & production executive :    Simon Dumas Production: Cie Manon fait de la danse  & Rhizome (Québec) – Transcultures (Belgique) – les Pépinières Européennes de Création (France)

An enigma with an exploded temporality

This triptych is an enigma with an exploded temporality, which allows cross and associative readings. Its protagonist is in tension between the doll or the android and the woman of flesh-and-blood.

Based on the multimedia poetic show Prototype n°1 by Cie Manon fait de la danse & Rhizome, Laureat of the No Lockdown Art Project, by Transcultures & les Pépinières Européennes de Création.

INWARD

2020 / Video, 20minutes 19sec

First presentations: Pink Umbrela Residency (Brazil, 2020), Bienal de la Imagen en Movimiento (Argentina 2020), Festival Traverse Vidéo 2021

Collaborative editing, co-creation with Kika Nicolela from archives of the two artists

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A co-creation with Kika Nicolela,, INWARD revisits and reconfigures footage of several past projects of both artists. The result is an essay on on solitude, on isolation, on the fears imposed to us by ourselves and others, on our everlasting need to do more, to have more, to be more. INWARD has the collaboration of sound artist Gauthier Keyaerts,  choreographer Manon Oligny,  choreographer/performer Claudio Stellato, dancers Anne-Marie Boisvert et Marilyn Daoust, writter/performers Mylène Mackay, Marie-Pier Labrecque et Philippe Boutin & performer Johann Cornu.

Looking for Cindy

2007 / Video / Dance Based

Vidéo HD video, 3’42’’ Choreography and lighting : Manon Oligny Dancer : Anne-Marie Boisvert Coproduction : In Progress asbl & Cie Manon fait de la danse As artists in residence à la Cité internationale des Arts, Point Éphémère et Centre National de la Danse à Paris.

Cindy Sherman as a catalyst for the female subconscious.

“In Looking for Cindy and the Palindrome series, I find Thomas’s work particularly interesting. Filming the “living spectacle” has always been a delicate exercise. Thomas does not take part in the exercise; he creates a quite separate object, which firmly distances itself from its source, whilst speaking of it. When he filmed Pouliche  by Manon Oligny and Claudio Stellato’s movements, it is neither a transcription, nor a documentary. He seeks to create a personal relationship with the performer, the body and movement, etc. The camera is highly present: the various angles of the shots, the fourth wall and breaks in style are accentuated by a video editing that creates a score made of key moments. I often see teasers of shows that ultimately only speak to me of the difficulty involved in filming the stage. Thomas on the other hand is not concerned with the stage work as a whole. He does not seek to transcribe it. Far removed from a critique or some kind of account, he creates a new corpus, a new material which he uses to create a complete and distinctive work of art.(…)”

 ATTENTION FLOTTANTE Entretien de Jacques Urbanska avec Philippe Franck Bruxelles, mars 2012 – in Memento Body la Lettre Volée –

Palindrome

2008 / Video

Name No One Man — Vidéo HD video, 2’’39’. Never Even — HD video loop, 2’’. Dancer-choreographer : Claudio Stellato Music : Sigur Ros (Ba ba ti ki di do – 2004).
“In Looking for Cindy and the Palindrome series, I find Thomas’s work particularly interesting. Filming the “living spectacle” has always been a delicate exercise. Thomas does not take part in the exercise; he creates a quite separate object, which firmly distances itself from its source, whilst speaking of it. When he filmed Pouliche  by Manon Oligny and Claudio Stellato’s movements, it is neither a transcription, nor a documentary. He seeks to create a personal relationship with the performer, the body and movement, etc. The camera is highly present: the various angles of the shots, the fourth wall and breaks in style are accentuated by a video editing that creates a score made of key moments. I often see teasers of shows that ultimately only speak to me of the difficulty involved in filming the stage. Thomas on the other hand is not concerned with the stage work as a whole. He does not seek to transcribe it. Far removed from a critique or some kind of account, he creates a new corpus, a new material which he uses to create a complete and distinctive work of art.(…)”

 ATTENTION FLOTTANTE Entretien de Jacques Urbanska avec Philippe Franck Bruxelles, mars 2012 – in Memento Body la Lettre Volée –