Pica, the Minotaur and his Muses paints unique portraits of the women who influenced Picasso's work. Each one reflects his artistic genius and corresponds to a facet of the painter's love, of which he himself is a captive. These muses served as sources of inspiration, assisting the painter in embarking on each new artistic endeavor, even pushing the boundaries of avant-garde.

The performance is a battle between the artist and the monster. The choreography invites each visitor to explore Picasso's work and journey into the artist's own mind. This choreographic and musical narrative is an imaginary voyage where the Minotaur, a prevalent image in Picasso's art, is not gendered; rather, it is a divine entity. From the positions of the statues, which inspire the choreography to set them in motion, the bodies of male and female dancers become neutralized and break down progressively throughout the performance.

In a feminine and intimate universe inhabited by these four women, a violence and animality awaken within the performers' bodies, eventually merging through the breath and power of dance.

Pica, the Minotaur and his Muses paints unique portraits of the women who influenced Picasso's work. Each one reflects his artistic genius and corresponds to a facet of the painter's love, of which he himself is a captive. These muses served as sources of inspiration, assisting the painter in embarking on each new artistic endeavor, even pushing the boundaries of avant-garde.

The performance is a battle between the artist and the monster. The choreography invites each visitor to explore Picasso's work and journey into the artist's own mind. This choreographic and musical narrative is an imaginary voyage where the Minotaur, a prevalent image in Picasso's art, is not gendered; rather, it is a divine entity. From the positions of the statues, which inspire the choreography to set them in motion, the bodies of male and female dancers become neutralized and break down progressively throughout the performance.

In a feminine and intimate universe inhabited by these four women, a violence and animality awaken within the performers' bodies, eventually merging through the breath and power of dance.

Self-taught, David LLARI founded the Maison du Hip-hop in 2006 in Paris. In 2008, in Marseille, he established his company, Sun of Shade, which later became BDPC. The dancer's selfhood is at the core of his artistic approach. What matters are the dancer's uniqueness, the gesture, and the intention behind it. In 2016, he was awarded the Critics' Prize at the international choreographic competition in Hanover.

Jean GOMEZ is a writer, director, and editor. After his film, Sing Sing, he makes short films, documentaries, and also records performances such as the Jazz Festival of the Five Continents or in venues like the Zénith de Strasbourg. He follows the company along its journey to tell its story and explore its universe through original creations.

The contemporary physical dance ballet was created in 2015 by the choreographer and author David LLARI.

Contemporary physical dance is a language that relies on the intention behind the movement. The danced motion, imbued with authenticity, breaks free from all existing forms of dance. The dancer, in their full selfhood, can then serve the author's pieces.

Resulting from choreography driven by anticipation and research, the choreographies of BDPC offer a unique perspective on the world and society. Beyond dance-specific stages, BDPC performs in locations such as public spaces, monuments, museums, or urban areas less accustomed to cultural events. BDPC has recruited its dancers internationally, from countries including France, England, Germany, and Italy. The company has its composers, a team of audiovisual technicians, administrative staff, and a network of occasional collaborators from various artistic disciplines.