bio_Adesola Akinleye2.jpg
bio_Adesola Akinleye2.jpg
bio_Adesola Akinleye2.jpg
bio_Adesola Akinleye2.jpg

The Extent of Touch

Eve Bonneau

Sunday

16:30 - 17:30

Ölbergkirche 2

The Extent of Touch

In this performance I question TOUCH and sensitive intelligence, its survival and necessity in our world in crisis. I propose a connection between subconscious, impulse and language. In a one-to-one experience, I draw the visitor body lying on the floor. The particularity of this session is that I’m blind and my hands are my eyes through touch.
I transcribe on paper their body map: vibration, temperature, energy, emotion, impression, visualisation, texture, density of the flesh, bone resistance, morphology, weigh. The body as living archive becomes a « body tale » to transmit. I draw and touch simultaneously. More exactly, I touch the piece of charcoal which touches the paper. Two contacts and two materials transforming the sensory information into authentic movements and traces. The “drawing's touch” influences the “body's touch” and vice versa.
As a final experience, I dance for the visitor who can remain lying on the floor or change position. I dance with all the received informations of the drawing. The movement becomes a kinesthetic Touch, in a spatial interaction. I dance around her/im, close and far. This dance can be perceived as a Love parade, channeling, celebration of presences, intimate sharing.

Trained in ballet and contemporary dance at the Conservatory of La Rochelle and P.A.R.T.S in Brussels, Eve also followed the psychomotoric pedagogy of Jacques Garros since she was 11 years old. After her encounter with London-based performance artist Robert Pacitti, Eve engages with Performance Art developing an approach beyond stage, questioning the perceived presence in the intersection between somatic practices and visual arts. From the intimate body to the collective one, her performances are experiences, a lived interiority deviating the spatial and visual language from representation. Her work has been presented in Belgium, UK, France, Poland, Brazil. She travelled four years in Mexico where she taught, performed, and developed collaborations with artist Tania Solomonoff. Her research takes the form of a pedagogical language first through interventions at the visual art school La-Cambre in Brussels and in Mexico City at the Choreographic Investigation Center and the National Arts Center. She develops her own experimental somatic workshops. Her last body investigation "the conversation" questions collective sensitive intelligence, empathetic communication and democratic bodies. Both pedagogy and performances nourish each other until they function together.