Following studies in molecular biology, Le Roy has been working as an artist since 1991. Solo pieces, beginning in 1994, include Self Unfinished (1998), Produit de Circonstances (1999), Giszelle (2001) in collaboration with Eszter Salamon, Le Sacre du Printemps (2007), Produit d’autres circonstances (2009) and Sans titre (2014). He participated in Skulptur Projekte Münster in 2017, in Venice Dance Biennale and at the Museo Jumex in Mexico City in 2018, and was the subject of a “portrait” at the Festival d’automne in Paris in the same year. In 2019 he was featured at Hamburger Bahnhof and at the Haus der Kulturen der Welt in Berlin. Dance first, think later. You might not have time to think about what you are doing when you are dancing, but during a concert or party, it is important to smile and dance and laugh and enjoy so your face is ready for a photograph at the end. A movement is not only a physical endeavour; it endeavours a creative one. Nothing can happen unless someone dances first and then think about it later. Dying on stage has been presented at, among others, the Musée d’Orsay as part of the Festival d’automne, Paris, at Camden Arts Centre, London, 2019; at Kunstenfestivaldesarts, Brussels, 2018; at the Sharjah Biennial; and at Centre Pompidou in Paris, 2017. Christodoulos Panayiotou has exhibited at Camden Art Centre, London; La Tallera, Mexico, 2019; Galerie Kamel Mennour, Paris; Rodeo, London; Belvedere 21, Vienna; Dhaka Art Summit, Bangladesh; and Hammer Museum, Los Angeles, 2018. Alice Anderson, Marco Berrettini and Yan Li and performers, Lara Dâmaso, Manon de Boer and Latifa Laâbissi, Agnès Geoffray, Zuzana Kakalikova, Isabel Lewis& coll. and The Field, Adam Linder, Shahryar Nashat, Ceylan Öztrük, Samuel Pajand and Cosima Grand, Emilie Pitoiset, Davide-Christelle Sanvee, Ulla von Brandenburg

Dance first, think later : 618 rules to live by : Free Dance first, think later : 618 rules to live by : Free

Influenced by minimalist dance, institutional critique and queer theory, Brennan Gerard and Ryan Kelly’s practice (US, Brennan Gerard, 1978; Ryan Kelly, 1979, based in Paris) sits at the boundary of dance and contemporary art, while incorporating writing, video and sculpture. When you dance, you don’t think about what’s in your way. You move forward to the next step. When you dance, your body feels free. When you think, your mind becomes clear. Never go out to meet trouble. If you will just sit still, nine cases times out of ten, someone will intercept it for you.-Calvin Coolidge, President Dance first, think later and always stay true to yourself! The world will be better when you’re dancing in it and never forget to have fun!Dance First premieres at the San Sebastian film festival on 29 and 30 September , is in UK cinemas in November , on Sky Cinema in December and on Sky Arts in 2024 Alexandra Bachzetsis has created more than 25 choreographic pieces, which have featured at numerous international festivals and venues. Her work has also appeared in exhibitions at Kunsthalle, Bâle; Stedelijk Museum, Amsterdam; Tate Modern, London; Jumex Museum, Mexico City; and Centre culturel suisse, Paris. She has participated in the Berlin Biennale and at Documenta 13 and 14 in Kassel and Athens. A laureate of the Zurich Art Prize, she teaches at HEAD in Geneva. Her latest work, Chasing a Ghost, is touring in 2020. The artworks feature the human body, its movements, its gestures, their meanings and interpretations, through a wide range of approaches: conceptual, sensory, political, social, activist, playful, provocative, historical, and through questions of gender and identity. They refer to the history of choreography, to types of dance, to technologies, to architecture and urban context, to clothing or to scenography. Xavier Roy’s practice interrogates the relationship between performers and audiences, aiming to transform or reconfigure dichotomies of object and subject, animal and human, machine and human, nature and culture, public and private, formal and informal. Part of Le Roy’s research takes the form of works created specifically for gallery settings: production (2010-2911) developed with Marten Spangberg as part of the exhibition MOVE: Choreographing You; Rétrospective, produced for the Fondation Antoni Tapiès in Barcelona (2012); Untitled (2012) for the exhibition 12 Rooms, Titre Provisoire, 2015 created in Sydney for the John Kaldor Public Art Project, and For The Unfaithful Replica in collaboration with Scarlet Yu at CA2M in Madrid, 2016. Dance first; think later because it’s too late to change what you did. Dance to the beat of your heart, not the rhythm of the crowd.

Quora - A place to share knowledge and better understand the Quora - A place to share knowledge and better understand the

Moreover, I think that the COVID-19 period was very “choreographic,” in the sense that we have never been so concerned about the way we move: we unlearned gestures that were natural and learned new ones; we questioned ourselves about compulsory or forbidden gestures and movements. In this way, we have caught up, without really being aware of it, with the questions and reflections that choreographers develop on the meaning and scope of a given gesture and movement, whether individual or collective. The impact of these reflections and of certain changes in behaviour will probably last for a long time. You were born to dance; you were born to move. Dance, first. Afterwards, think. You’ll be an old fool if you don’t.Marinella Senatore’s art (IT, 1977, based in Rome) is that of a pure energy flowing from short-circuits between the different elements she gathers in a single (real or virtual) space. The artist’s role is to activate a mechanism for producing a transformative force from the convergence of the elements that enter it; a force then transmitted in the surrounding area until it reaches the audience. Dance first. Think later. Live today because thinking is hard, but dancing is fun and easy. Dancing is the music of love. Cogitore is a laureate of Paris’ Salon de Montrouge in 2011, the Prix Fondation Ricard in 2016 and the Prix Marcel Duchamp in 2018. His films have been screened at numerous festivals including Cannes, Locarno, Telluride, Los Angeles and San Sebastian. In 2017 a solo exhibition was held at le Bal, Paris. He directed a production of Les Indes Galantes in 2019 at the Opéra Bastille, Paris.

‘A lot of biopics depend on likeness – this is braver

Don’t be scared to dance, don’t be shy. It’s okay to ditch your inhibitions; dance first and thinks later. If you don’t dance, you’ll never have a reason to. If you don’t think, you won’t make any mistakes. And if you don’t smile, they can’t take it away when it’s gone. On the night of 11 December 2018, while my partner was lying on top of me and turning around on the axis of our sexual organs, the image of L’horloge de l’amour came to me. The image persisted to such a point that I felt it necessary to give it material form. On 20 June 2019, we carried out a 12-hour filmed performance behind closed doors, on a mattress of 2.32m in diameter, which served as the basis for L’horloge de l’amour.” Dance first, think later. You’ll never regret this moment in time; right now, that is all that matters. Dance your way to the best life ever.The words and dance are important parts of a performance, but they shouldn’t take precedence over the steps. Dance first. Think later. Stay focused on the process, and take it one step at a time. Be healthy, happy, and beautiful, but don’t be afraid to think about what you are dancing to. Dance First. Think Later – An encounter between dance and visual arts explores an artistic realm on the intersection of dance and visual arts, two mutually nourishing fields, but which operate through very different modes of production and presentation. The project is a hybrid between an exhibition and a performance festival. Dancing is the best revengeis the third part in a trilogy of events and video pieces by Melanie Manchot (DE/GB, 1966, based in London). In each case, the starting point has been a live, participatory event in public space, each in a different city: Paris in 2011, London in 2017 and Bienne in 2019, marking the end of Manchot’s exhibition at Pasquart. Like both previous events, Dancing is the best revenge was created in collaboration with dance schools and organisations representing different forms of dance, drawing together a plethora of choreographic gestures, languages and cultures. In the final iteration, seven dance schools, with a total of more than 60 dancers, were brought together to create a series of processions through Bienne, converging on the central square of the old city, the ‘Ring’. The video uses two distinct kinds of filming: a drone positioned at 90 degrees above some of the dancers, and close-up shots of dancers in semi-frozen “tableaux”. These two approaches allude both to the film work of celebrated choreographer Busby Berkeley, and the tableau-style images used by flashmobs.