Artists Remake the World
The Author

The Author : Patricia Brignone

Biography

Patricia Brignone is a critic and Doctor in art history, with a keen interest in stage practices at the crossroads of various disciplines. She has collaborated in numerous media (artpress, Mouvement, Critique d’art, France-Culture) and has written several books: Ménagerie de Verre, Nouvelles pratiques du corps scénique (pub. Al Dante, 2006); Du dire au faire (published by Musée du MAC/VAL de Vitry-sur-Seine, 2012), as well as a number of catalogue texts: Ne pas jouer avec des choses mortes (Villa Arson, Les presses du réel, 2009); La performance : vie de l’archive et actualité (published by Les presses du réel, 2013); Uchronia – Duplicate > Do not create – Infiltrate – Do not exhibit…, by Annie Vigier & Franck Apertet [les gens d’Uterpan], (Sternberg Press, 2017); Esther Ferrer (MAC/VAL – Frac Bretagne, 2014) or Esther Ferrer, Todas las variaciones son válidas, incluida esta, (Museo Reina Sofia, Madrid, 2017-2018). Co-curator of the SIGMA exhibition at the CAPC Centre of Contemporary Visual Arts of Bordeaux (2013-2014), she is also co-author of a film, with Pascale Cassagnau, about the artists of the Eric Fabre gallery: La parade des objets. She teaches history and art theory at the École supérieure d’art et de design de Grenoble.

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Investigation by Patricia Brignone
FranceUSA
FranceUSA
07 March 2019

The Amorous Indies
in the age of krump

Investigation by Patricia Brignone

In 2017, artist Clément Cogitore made a film with a high energy content. On the stage of the Opéra Bastille in Paris, around forty dancers are doing the krump, a street dance that originated in 2000s in the South Central district of Los Angeles. They display their movements and impose their style and culture to the baroque music of Jean-Philippe Rameau’s, Les Indes Galantes (The Amorous Indies). Shaking up time and genres, and above all avoiding the conventional pitfalls of appropriation, Cogitore succeeds in creating a forceful work that goes beyond cultural clichés.

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