The Spectator's Moment or how to discover an artist, a piece of work or a company in just two minutes. It is a collection of programmes produced by the Maison de la Danse in Lyon and presented by Dominique Hervieu. Each episode is devoted to an artist or a company that is programmed at the Maison de la Danse and offers the public keys or artistic benchmarks for better understanding and appreciating the choreographic art.
 



© Maison de la Danse de Lyon

In 1973 Frédéric Flamand founded the group Plan K: here he questioned the status and representation of the human body by integrating plastic arts and audiovisual techniques into live performance.

From the outset Plan K developed its activities on an international scale, and the recognition from which it benefited abroad allowed it to establish its status.  Convinced of the importance for a company to be tethered to a place which allowed meetings and gatherings, in 1979 Frédéric Flamand opened a multi-arts centre in Brussels in an old sugar mill. Artists from various disciplines were welcomed here, such as Bob Wilson, William Burroughs, Charlemagne Palestine, Steve Lacy, Pierre Droulers, Philippe Decouflé, Marie Chouinard, Michael Galasso, Thomas Schütte, Joy Division, Eurythmics, etc… ‘La Raffinerie’ (The Refinery) is also a place of work, where an international dialogue between dance, plastic arts, music, and audiovisual arts takes place, hence perpetuating Plan K’s initial mission.

In 1987 Frédéric Flamand met the venetian artist Fabrizio Plessi.  Together they would develop a trilogy which approached the problem of technology envisioned in three different time periods: “La Chute d'Icare” (The fall of Icarus) (1989) considers the Renaissance and craft techniques.  The creation of Icarus at “La Monnaie” would reinforce Frédéric Flamand’s presence on large international stages.

Next were “Titanic” (1992) which talks about the industrial revolution at the beginning of the twentieth century, and “Ex Machina” which evokes the end of the twentieth century and the spread of image and communication technologies.

In 1991, Frédéric Flamand was appointed as the artistic director of the “Ballet Royal de Wallonie”, a neoclassical company which he renamed “Charleroi/Danses, Centre chorégraphique de la Communauté française de Belgique”.

In 1996, Frédéric Flamand begun his consideration of the relationships of dance and architecture, both being arts of structure and space.  For the show “Moving Target”, he chose to work with New York architects Elisabeth Diller and Ricardo Scofidio, taking inspiration from the uncensored diaries of Vaslav Nijinsky, one of the first classical ballet dancers to build the bridge towards contemporary dance.

Following this was the creation of the shows “E.J.M 1” and “E.J.M. 2”, based on the works of Edward James Muybridge and Etienne Jules Marey, still in collaboration with Elisabeth Diller and Ricardo Scofidio. “E.J.M. 2” was staged for the “Ballet de l’Opéra National de Lyon”, while “E.J.M 1” was made for the “Compagnie Charleroi/Danses – Plan K”.

In 2000, Frédéric Flamand created “Metapolis” with the iraqi-british architect Zaha Hadid, the 2004 winner of the Pritzker Prize, which is equivalent in architecture to winning the Nobel Prize.  This same year he met Jean Nouvel. Their collaboration resulted in the creation of “The Future of Work”, a show which would be viewed by over 600 000 people during its five month run.  This achievement adhered perfectly to Frédéric Flamand’s preoccupation with gaining the largest possible audiences for the art of dance.  In 2001 he created the double show “Body/Work” and “Body/Work/Leisure” as an extension of his collaboration with the architect Jean Nouvel.

The Venice Biennale entrusted to him the artistic direction of the First International Contemporary Dance Festival of the Venice Biennale in 2003.  He opened the festival with the creation of “Silent Collisions”, directed with californian architect Thom Mayne.

In September 2004, he was jointly appointed as General Director of the “Ballet National de Marseille” by the minister of Communication and Culture in the City of Marseille and the Provence-Alpes-Côte d'Azur Region.

He created “La Cité Radieuse” (The Radiant City) with french architect Dominique Perrault, “Metamorphoses” with the renowned brazilian designers Humberto & Fernando Campana, and “La Vérité 25X par seconde” (The Truth 25X per second), with chinese architect-plastic artist Ai Weiwei.

Frédéric Flamand also enriched the Ballet National de Marseille’s repertoire by inviting external choreographers including William Forsythe, Lucinda Childs, Nacho Duato, the french Thierry Malandain, Michel Kelemenis, and Olivia Grandville & Eric Oberdorff, and the belgian Michèle Noiret, …

Frédéric Flamand is an Official in the “Ordre des Arts et Lettres de la République Française”.

Born in 1977, Fabien Plasson is a video director specialized in the field of performing arts (dance , music, etc).

During his studies at the Ecole Nationale des Beaux-Arts de Lyon (joined in 1995) Fabien discovered video art. He was trained by various video artists (Joel Bartoloméo Pascal Nottoli , Eric Duyckaerts , etc).
He first experimented with the creation of installations and cinematic objects.

From 2001 to 2011, he was in charge of Ginger & Fred video Bar’s programming at La Maison de la Danse in Lyon. He discovered the choreographic field and the importance of this medium in the dissemination, mediation and pedagogical approach to dance alongside Charles Picq, who was a brilliant video director and the director of the video department at that time.

Today, Fabien Plasson is the video director at La Maison de la Danse and in charge of the video section of Numeridanse.tv, an online international  video library, and continues his creative activities, making videos of concerts, performances and also creating video sets for live performances.

Sources: Maison de la Danse ; Fabien Plasson website

More information: fabione.fr