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Dog Rising | Clara Furey

MZD PRESENTS: CLARA FUREY | DOG RISING

Dog Rising comes together like a polyphony of pulsating bodies. Furey turns her attention to the way sound vibrations penetrate the bones, the way our skeletons absorb shocks.

SHOW
January 18
Doors: 7 PM
Show: 7:30 PM
Mile Zero Dance | 9931-78 Avenue

GET TICKETS
$30 General Admission
$25 MZD Members
Please note there will be strobe lights as part of this performance.

Dog Rising invites us to embark on an extreme journey, a mesmerising, haunting, and penetrating spiral.

PROGRAM CREDITS

CONCEPT AND ARTISTIC DIRECTION: CLARA FUREY
CHOREOGRAPHED BY: CLARA FUREY IN COLLABORATION WITH BE HEINTZMAN HOPE, BRIAN MENDEZ & WINNIE HO
PERFORMED BY: BACO LEPAGE-ACOSTA, BE HEINTZMAN HOPE, BRIAN MENDEZ
REHEARSAL / RÉPÉTITRICE : LUCIE VIGNEAULT
MUSICAL COMPOSITION: TOMAS FUREY
LIGHTING DESIGN: KARINE GAUTHIER
TECHNICAL DIRECTOR: KARINE GAUTHIER, JURJEN BAREL
OUTSIDE EYE: PETER JASKO, DANA MICHEL, CHRISTOPHER WILLES, CAROLINE MONNET DISTRIBUTION: A PROPIC | LINE ROUSSEAU, MARION GAUVENT, LARA VAN LOOKEREN
PRODUCTION : CLARA FUREY
EXECUTIVE PRODUCTION: PARBLEUX

ARTISTIC INTENT

With its celestial bodies launched into orbit, vibrating in a lustful and hypnotic ritual, Dog Rising mirrors the life cycle, the dynamic flow of matter. From primitive impulses to gestures that are at times sexual, at times mechanical, Clara Furey’s new creation comes together like a polyphony of pulsating bodies, in turns dissonant and in unison. The choreographer pursues her exploration of physical phenomena, initiated with Cosmic Love. She turns her attention to the way sound vibrations penetrate the bones, the way our skeletons absorb shocks, and listens closely to the presence of the body as it fully manifests itself.

As a point of departure for her physical research, Furey looked at bone conduction, a way of hearing sound as it resonates in a spiral trajectory through the bones. She prefers to imagine that the vibrating shocks strengthen rather than break us. Rather than dramatize the shock, so that we experience it on an emotional level, she frames it as something our skeleton needs to survive. Dog Rising opens the door to a spontaneous pleasure, its pulsations and shocks causing our emotions to fluctuate like waves. The piece revolves around neither narrative nor drama but pure sensation.

We sense the energy build like musical instruments that come in one by one. This piece is musical and plays with synchronization, dissonance, and friction. Notions of persistence and pleasure provoke all sorts of questions: how does our personal machine function and how can it regenerate itself? How can we replenish our resources rather than exhaust them? How can we generate energy ourselves and rely on each other so that it comes back to us? The idea of renewal is central to the work, energy deployed to edify, in pleasure rather than in suffering. Our resources need not be exhausted if they are used in the right way.

Furey is interested in the notion of therapy and care in art. She dances to learn to listen in a particular way, not just socially but also to what the body has to say, its lived experience. Aware that we can’t know what is in our blind spots, she seeks to capture the skeleton’s vibrations, its ultrasounds, in a sort of sonogram that allows us to see bones with sound, to see in the dark in order to discover another way of seeing.

On stage, Baco Lepage-Acosta, Be Heintzman Hope and Brian Mendez erect an architecture of pleasure. The trio is inhabited and nourished by empathy and acute attention to the energy of the body and to others. Through their tireless movement work, tensions are released in the endless repetition of cyclical gestures. Dog Rising invites us to embark on an extreme journey, a mesmerising, haunting, and penetrating spiral. It is an invitation to grow and regenerate physical strength through shocks and discomfort sublimated into joy, with a musical score by her loyal collaborator Tomas Furey.

ARTISTIC STATEMENT 

I’m interested in exploring the codes that travel in and across various art forms.

My practice in movement gives equal consideration to both space and sound, with the goal of encouraging the awakening of the sensorial perceptions of the audience and the performers, giving them emotive immediacy, direct access.

I’m guided by the belief that beauty might appear after a long arduous process. Not beauty that appears out of nowhere, but beauty that is already there, under the layers.

I often work in minimalist set-ups that can foster intimate atmospheres and invite us to take a contemplative posture. I want to leave room for the creative mind of the spectator. Sometimes a deep feeling of emptiness arises in my work or rather an investigation around the concept of emptiness and all the links and dynamics that it is filled with. The void becomes a conveyor of possibilities and allows all form of communication to coexist.

CLARA FUREY – BIOGRAPHY

After completing musical training at the Conservatoire de Paris, Clara Furey launched her career as a singer-songwriter.

She later trained as a dancer at the École de danse contemporaine de Montréal and worked with choreographers such as George Stamos, Damien Jalet, and Benoît Lachambre. An artist accustomed to collaborative work (Untied Tales with Peter Jasko, showcased at the Venice Biennale in 2016, Ciguë with Éric Arnal Burtschy), Furey created her first solo work as artistic director in 2017 with Cosmic Love, a collective piece with minimal gestures, exploring the voids and invisibilities in the interactions between body, song, and space.

As both a choreographer and a performer, Furey is interested in shifting codes within various forms of art by way of an interdisciplinary dialogue. In 2017, she performed When Even The 90 times alongside a sculpture by Marc Quinn as part of the Leonard Cohen exhibit at the Musée d’art contemporain de Montréal. She is the choreographer of Rather a Ditch (2019), a solo piece written for Céline Bonnier centring on the permeability of bodies, as a response to Steve Reich’s album Different Trains.

Her works toured in numerous festivals including the Biennale of Venice, Les Rencontres Chorégraphiques in Paris, the Festival TransAmériques in Montreal, ImPulsTanz in Vienna, Performance Mix in New-York City and in different countries such as Lithuania, Czech Republic, Slovakia, Spain, The Netherlands, Belgium, Azerbaïdjan and Bulgaria.

With Dog Rising, Furey concludes her exploration of tension and immobility, freeing previously contained energies in a performance focusing on persistence, groove and pleasure. She insists on the repetition of infinite loops through an extreme physical journey, a mesmerizing, haunting and penetrating spiral.

Image credit: © Mathieu Verreault

Details

Date & Time:
January 18 @ 7:30 pm
Event Category:

Venue

Mile Zero Dance
9931- 78 Avenue
Edmonton, Alberta Canada
+ Google Map

Featuring

Clara Furey

Clara Furey studied at the Conservatoire de Paris and the École de danse contemporaine de Montréal. She has created 8 works, including the cycle of performances When Even The, created for the Leonard Cohen tribute exhibition at the Musée d’art contemporain de Montréal (2016). Her choreographies reveal her deep attachment to music, particularly the compositions of her brother and collaborator, Tomas Furey. She has been supported by the contemporary creative company Par B.L.eux, of which she is currently the director of activities. She is also part of Usine C’s cohort of associate artists until 2024.


Buy Tickets

Details

Date & Time:
January 18 @ 7:30 pm
Event Category:

Venue

Mile Zero Dance
9931- 78 Avenue
Edmonton, Alberta Canada
+ Google Map