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    la facultad - Catalina Insignares and Myriam Lefkowitz. Residence at Bétonsalon and at the CHUM of Paris-Ivry EMMAÜS Solidarity

    From April to June 2021, Bétonsalon hosted la fac­ultad, in res­i­dency for a first phase of research and meet­ings. The links cre­ated with the CHUM, Centre d’Hébergement d’Urgence pour familles migrantes de Paris-Ivry – (Emergency Housing Centre for migrant fam­i­lies in Paris-Ivry) – EMMAÜS Solidarité mate­ri­al­ized with the opening up of a space in a yurt at the centre, ded­i­cated to la fac­ultad. From October to January, la fac­ultad reg­u­larly pre­sents its prac­tice there: three days a week, Catalina Insignares, Myriam Lefkowitz and Julie Laporte offer meet­ings around a somatic-chore­o­graphic prac­tice for people accom­mo­dated within the asso­ci­a­tion and those assisting them: actors from the social, legal and care fields, vol­un­teers, and cul­tural part­ners.

    la fac­ultad
    la fac­ultad is a site where the dor­mant sen­sory fac­ul­ties within each of us that we want to be able to hear, study and amplify in col­lab­o­ra­tive local sit­u­a­tions, can be exer­cised.
    This “prac­tice chamber” designed by Catalina Insignares and Myriam Lefkowitz, and acti­vated in col­lab­o­ra­tion with Julie Laporte, tar­gets exiled people and those who assist them. It min­gles somatic, chore­o­graphic, and ener­getic prac­tices, some­times influ­enced by tarot read­ings, hyp­nosis or even telepathy so many mediums they make use of to exper­i­ment other forms of rela­tion­ship to the self, to others and to our social envi­ron­ment.
    “Through these sen­sory exper­i­ments, together we can invent means of com­mu­ni­ca­tion that use the body, the imag­i­na­tion and memory means that are not depen­dent on lan­guage, and that can be invented working with our dif­fer­ences rather than against them, with them, rather than without them. For la fac­ultad art thus becomes a place where we invent com­mu­ni­ca­tion tools and begin to tell other sto­ries about who we are, where we are and what the future could be like.”
    A walk in the town as a duo, where one of the walkers has their eyes closed, a choir – le groupe/a chorus le chant for supine bodies, a dance with the hands, sent to someone who is absent, a land­scape of objects and mate­rials made up of recum­bent bodies, the reading of a text accom­pa­nied by touch, a prac­tice that focuses on the heart as the main vector of con­nec­tion…

    Catalina Insignares
    Catalina Insignares is a Columbian chore­og­ra­pher and dancer, set­tled in Paris. She studied dance in Canada and France and com­pleted a master’s in chore­og­raphy and per­for­mance at the University of Giessen, Germany. Her plays ques­tion artistic pro­duc­tion sys­tems and their rela­tion­ship to society. She seeks the moment where dance gives rise to intel­li­gible sub­jec­tiv­i­ties and col­lec­tiv­i­ties. She mainly works in col­lab­o­ra­tion and cre­ates long-term asso­ci­a­tions for chore­og­raphy, dra­maturgy, teaching and inter­pre­ta­tion that can last years (Caroline Creutzburg, Carolina Mendonça, Miriam Schulte, Else Tunemyr, Zuzana Zabkova). Her prac­tice notably includes a duet danced with a male or female par­tic­i­pant over sev­eral weeks (us as a use­less duet) (in Giessen, Frankfurt, Bogota), a noc­turnal reading addressed to sleeping bodies (use­less land) (per­formed in Brussels, at Precarious Pavilions, the Beursshouwburg; in Berlin, Klosterruine and MärzMusik; Paris, La Ferme du Buisson) and sen­sory prac­tices that listen to the links we have to the dead (ese muerto se lo cargo yo). Since 2017, she has been working with Myriam Lefkowitz as both a per­former and col­lab­o­rator, seeking to infil­trate sen­sory prac­tices drawn from their work, into var­ious social con­texts (la fac­ultad). In 2019, Catalina Insignares began a research study at DAS THIRD in Amsterdam and she is co-curator at the Gessnerallee in Zurich.

    Myriam Lefkowitz
    An artist chore­og­ra­pher, since 2010 Myriam Lefkowitz’s research has focused on ques­tions of atten­tion and per­cep­tion, using dif­ferent immer­sive mech­a­nisms involving direct rela­tion­ships between spec­ta­tors and artists. Myriam Lefkowitz’s work was pre­sented at the 55th Venice bien­nale (“Oo”, Lithuanian and Cypriot Pavilion), the CAC Vilnius, Med15 (Medellin), the Garage (Moscow), the Creative Time Summit (Stockholm), Situations (Bristol), the Talbot Rice Gal¬lery (Edinburgh), the Kadist Foundation (Tokyo and San Francisco), the Kaaitheater (Brussels), the Laboratoires d’Aubervilliers, La Galerie (Noisy le sec), La Ferme du Buisson... After fol­lowing the SPEAP pro­gramme (master’s in art and polit­ical exper­i­men­ta­tion, Science Po, Paris founded by Bruno Latour) in 2011 she became a member of the pro­gramme’s teaching com­mittee for 2 con­sec­u­tive years. Deeply involved in teaching, she is reg­u­larly invited to con­duct work­shops (HEAD, ERG Brussels, Mejen in Stockholm, the Beaux-Arts in Reims, Besancon, Quimper, Angouleme, Bourges, as part of the master Ex.Erce, the dance depart­ment at Paris 8). From 2017 to 2018, she was com­mis­sioned by If I Can’t Dance I Don’t Want To Be Part Of Your Revolution (Amsterdam). Currently she is working on a film in col­lab­o­ra­tion with the artist Simon Ripoll-Hurier and teaching at TALM (an art and graphic design school in Angers). She also con­tinues her chore­o­graphic research in the con­text of sev­eral invi­ta­tions: the Kunst Centrum Buda (Courtrai), the Monheim Triennial and the Belluard Festival (Friburg).

    This pro­ject is part of the Bétonsalon Academy
    A pro­ject hosted by the socio-cul­tural team of the CHUM of Paris-Ivry EMMAÜS Solidarity in the con­text of the 2021-2022 season