INSTALLATIONS

DUMB TYPE - installations Installations Cascade frost frames IRIS Love/Sex/Death/Money/Life Lovers [OR] installation Voyages

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dumb type dumb type, an artist collective History Biographies Selected performances & exhibitions

Contacts

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Cascade Video director Shiro Takatani Music Ryoji Ikeda Lighting Takayuki Fujimoto Choreographers Noriko Sunayama Takao Kawaguchi Manager Yoko Takatani Production dumb type Co-produced by Change Performing Arts Milano With the support of Kyoto Art Center Cascade by dumb type in Milan (2000) © Change Performing Arts Milano

“Now we freeze in front of a frozen cascade like losing one’s focus towards too fast phenomena. The safe and sheltering forest of memory is no more. Nostalgic reminiscences of happy days, sweet dreams of future memories to come… We stand before the falling waters, waiting for the perfect moment to plunge in. Let us meet under the waterfall.” Dumb Type

Cascade is the installation/performance related to dumb type show memorandum, , an investigation of memory (loss) in a cascade of white noise and stroboscopic light flood. The visitor, whose existence is part of the installation, strolls around in a 3 metre-wide aisle with two giant screens on either side. Projected images and live performers form the walls of the installation.

Commissioned by the Milan Design Salon in 2000, Cascade was the large entrance installation of the enormous architectural exhibition "Rooms and Secrets" at the Rotonda della Besana, Milan (Italy) leading to rooms by Peter Greenaway, Emir Kusturica and Bob Wilson. It was also presented in Haus der Kulturen der Welt, Berlin in March/April 2001.

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frost frames by Shiro Takatani The fast-projected images are a series of images shot by DV (digital video camera) with an electronic high-speed shutter of 1/10000 second. Each digital image is shown per 1/30 second. The images from one projector are taken from landscapes, and the other from the human body. They are not created by visual effects, but are actually shot automatically from a DV attached to a moving vehicle or machine. The digital recordings, which are imperceptible to the naked eye, are reduced to the analogue state, perceptible by the human eye. These images are not the feedback from human senses and perception, but are what electronics have seen and generated as image-mechanic /machinic. The images are dissected and expanded by highspeed technology. They penetrate our eyes as "tranquil but crazy images" (Shiro Takatani), or whiteout (Doesn't the system have similarities with the system of human memory?).

frost frames by Shiro Takatani in Créteil (2000) © Emmanuel Valette

Like a focusing glass in a camera, a square sheet of frosted glass stands as a screen. Different images are projected on the glass screen from both sides, so that one can see the images from the projector of the other side. When one crosses before the projector on one side, there appears no shadow, but a silhouette is visible on the other side.

The sound creation by Ryoji Ikeda, co-operating in the production, is in tandem with the changing memory counter, and generates breaks, along with the images, by random stop. The image of "whiteout" in frost frames shares the same concept with dumb type's work [OR] (19971999), for which Shiro Takatani is a core member.

This method of projection makes the screen exist as a non-materialistic membrane, not merely as a representative space for image projection. It reminds us that the self-shadow from inside Plato's cave becomes a metaphor for the existing world, and it hides the essence of images as membrane. This device for the duality of sight creates an interface for another side of the world, each affecting one another.

Initially created for Canon ARTLAB at the Spiral Hall in Tokyo in Mai 1998, frost frames has since been presented in Lyons, Créteil, Maubeuge (2000), Sendai (2001), Toulouse (2002) and Jerusalem (2005/2006).

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IRIS IRIS is a special creation for the Valencia Biennial (Spain) This 120m long fog sculpture was presented in June 2001 at the Tinglado in the Valencia seaport.

creation Nature in its infinite possibilities, perceived simultaneously in totality and partial chaos. Time, space and consciousness, re-examined from shifting vantage points. The present work combines a curved fog sculture with projected images to compose an entire day in time and space. The viewer sees both the sunlight, wind, artificial lighting, chaotic structures on the level of fog particle motion, as well as a perfectly circular halo and other elements reflected back in entirety. The viewer becomes aware of the infinitely changing possibilities in line of sight, in timing, in weather conditions, aware of people's ever-inconstant perspectives.

IRIS by Shiro Takatani at the 1st Valencia Biennial (2001) © dumb type

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Shiro Takatani In collaboration with Fujiko Nakaya conception and video creation Shiro Takatani supervisor of fog sculptures Fujiko Nakaya technical director and lighting design Takayuki Fujimoto video assistant Richi Owaki performer Noriko Sunayama dumb type manager

Yoko Takatani

LOVE/SEX/DEATH/MONEY/LIFE version 1999

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LOVERS Dying Pictures, Loving Pictures

Lovers by Teiji Furuhashi in Tokyo (1994) © ARTLAB, Canon Inc.

Lovers is an installation created in 1994 by the now-deceased Teiji Furuhashi, one of the founding members of the dumb type artistic collective. This work, performed in conjunction with dumb type’s show S/N, examines love, the body and information. The spectators enter a closed room. In the darkness, spectres of naked men and woman walk, run, cross paths, embrace each other and then leave again, all of this taking place in a mood of immense calm. Their movements are slow, suspended, as in a dream. From time to time, a new character appears on the wall… it is none other than the artist himself. As he comes to face the spectator, he stops, turns and then offers himself up by spreading his arms open as though he were on a crucifix. He then disappears in a slow tumbling backward motion. The aesthetic that this effect of disappearance produces is one of a profound gentleness. The silent bodies continue to move around. Lovers has been exhibited in Tokyo, Munich, Linz, Barcelone, New York, Frankfurt, Lyons, Créteil, Maubeuge, Glasgow, Sendai, Shanghai.

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Four long slabs of glass are laid on a white carpet, Video images of men and women are projected onto surfaces of the glass. The glass and the carpet warp the images. As a result, there are immaterial images and material sounds. The images of lying men and women will metamorphose when sensors detect the visitor. The work is a meditation on the "grey humor" overhanging the space between life and death. Four body-length "laboratory slides" are laid out on a sterile white carpet, each "slab" consisting of two glass plates sandwiching an LCD film that switches ON/OFF between semi-opaque and transparent. [OR] installation by dumb type in Tokyo (1997) © ICC- InterCommunication Center, Tokyo

The glass and carpet serve to distress the projected images, and to obstruct /reflect/absorb sound. The four flat images display human presence without depth. In turn, these images are placed in grid formation like scanning/sorting "beds" in a hypothetical holding area, a zone of watched manifestation.

In 1997, dumb type created the show [OR]. Looked from various view points, be it religious, philosophical, medical, cultural or emotional, on a stage flooded in flickering light, with an advanced technique of combining bodies, images, video, sounds and lighting, [OR] is a "grey humour" reflection on the border(s) between life and death.

The video transforms of seven men and women which are mapped onto the surfaces, are multiple possibilities, which at the point of projection appear singularly "real" while the remaining visions are stripped away as impossible unrealities. The computer-controlled laser disc system implicitly renders forth only one sample out of many.

Also entitled [OR], a related installation piece, was commissioned by the Inter Communication Center (ICC) in Tokyo for its opening in April 1997 and is now part of its permanent collection. The exhibited version from 2000 is part of the permanent collection of the Musée d’Art Contemporain, Lyons (France). This artwork was also exhibited by the CDC in Toulouse (2002) and Lille 2004 - European Capital of Culture in Lille (2004).

In contrast to the non-materiality of the visuals, the invisible non-directionality of sound shapes an unobtrusive aural ambience. Visitors are free to walk around in the room but remain "outside" the sound, until hidden sensors detect their intervening movements, and arouse slight shifts in the planar foci, disturbances in the projected images and displacements in the audio.

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VOYAGES Voyage through Multilayered Realities By Eiji Yamamori in Asahi Shimbun. 11/11/2002 dumb type, whose artistic activities in the international arena since the '80s cut across art, theater and music, began from the mid-'90s to incorporate digital visuals and music in more strongly conceptual and speculative directions. In their recent work Voyages, exhibited at the NTT InterCommunication Center (ICC) in Shinjuku, Tokyo, this tendency makes for even greater freedom of interpretation. A succession of images of forests, harbors and other familiar scenes projected upon a narrow panel laid across the floor of a darkened interior are superimposed with two circles showing a network of flight routes. The visual confusion caused by this overlapping of perspectives of Voyages by dumb type in Tokyo (2002) © Kazuo Fukunaga two different levels is not unlike the experience of verifying one's location using a global positioning system (GPS) while driving, a dizzying sense of vertigo from looking down on oneself from the air. How, then, to Voyage through such multilayered realities? Placing a hand just so into one of the projected circles summons up a particularly vivid image -- is this where "I" am situated? dumb type, Voyages by Fumihiro Nonomura in Studio Voice. vol. 323. 11/2002 On entering the ICC Gallery, there in the darkness, rather dim red laser beams scan about, as if sensing one's presence. Gradually, as the eyes adjust to the dark, one discerns a long catwalk "stage" or plinth raised slightly above floor level. Not so high as to discourage the viewer from stepping up, but an exactingly calibrated height. Mounted on the ceiling running parallel to this stage are several moving projectors. A supremely simple set-up, which makes the perfect counterpart to the refinement of the high-resolution images. dumb type, a group that has carved out a "between" zone that cuts across the subdivisions of contemporary art, always serves up surprises, an ever-changing roster of irregular participants around its core members. This particular installation is so very minimal that all interpretation is left completely to the viewer. So which of the following schema are intentional and which not…? When images projected onto the stage overlap, unlike darkening of the subtractive primary pigment color mixing, the additive color principle of light makes them brighter, bringing to mind the problem of multiple elements occupying identical planar coordinates, that is, the problem of projecting n+1 dimensions onto n dimensions such as preoccupied the Cubists in painting. Or again, the collage technique of pasting together disparate components onto the same picture plane, a favorite technique developed by the Dadaists in challenge to the then-latest technology of photography and later figuring contextually in such work at the Bauhaus as MoholyNagy's Light-Space Modulator. Then there's Gyorgy Kepes's retheoretic of the same, or picking up from Kepes, Colin Rowe's writings on Transparency, which exerted such major influence on architecture after Modernism. And as if to incorporate all these things, the screen serving as an empty stage, whereupon the viewer bending over to get a closer look at the images projected there becomes, unwittingly "behind one's back," physically part of the installation. I only wish there were some way to see the images projected onto my own back. Herein are condensed of many different ideas Dumb Type has explored in their performances up to now. Since their founding in 1984, dumb type’s own Voyages have seen them overcome so many different scenes, just where will they head now ? However minimal this present exhibition, I couldnt help but think it a grand summing up of their activities so far. 9

dumb type, an artist collective dumb type is based in Kyoto, Japan. Members are trained in varied disciplines, including the visual arts, architecture, music and computer programming as well as writing, acting, dance, and other forms of performing arts. dumb type’s work ranges across such diverse media as art exhibitions, performances, audio-visual and printed publications.

We started as a group of frustrated students in conceptual art, painting, architecture design, video, photography, and other areas at the University of Kyoto of the Arts in 1984. “Frustrated” because as students we were not allowed to learn anything outside the category of the department each member belonged to: oil painting majors could only learn oil painting, and so on. But being in our early twenties at that time, we wanted to try new things. During this time we were greatly influenced by presentations of artists in multimedia performance around the world, especially by the early Brooklyn Academy of Music’s NEXT WAVE presentations of Robert Wilson, Laurie Anderson, Pina Bausch, and other now internationally acclaimed artists. Performances by these artists in Japan then ignited the national performance art boom.

dumb? Our aspiration is and has always been to create something interesting and new by departing from the conventional style of theatre, which in Japan is predominantly based on dialogue. We experiment with many different ways to invent new vocabulary for theatre performance. We fuse the wide range of our group members’ skills and knowledge to forge a creative style that overcomes the boundaries between the visual arts, theatre, and dance. The word “dumb” in our title literally means “not speaking”, but it also symbolizes our stylistic freedom in artistic expression, which, nonetheless, does not exclude use of text. The word can also imply being stupid and idiotic. Naming ourselves “dumb,” therefore, is a cynical antithesis to the more refined and established world of “high art” that we perceived dominated the art scene. Rather than holding on to the refined tastes and values of the conventional art world, we did (and still do) choose to be idiots capable of bringing revolutionary visions to the arts.

process Being a collective, we not only bring together artistic skills, ideas, and concepts, but also our personal day-to-day experiences, interests and concerns. dumb type founder Teiji Furuhashi once said that the core group (Furuhashi, Toru Koyamada, Yukihiro Hozumi, Shiro Takatani, Takayuki Fujimoto, and Hiromasa Tomari) “wanted to start creating something new with our skills. Most of the time we spent discussing society or whatever, not specific art things. When someone had an idea it would be presented on a piece of paper. If the group was interested, we made it come true. At first the idea would be really open and gradually it became something very specific. In that way we’re really democratic. dumb type is a collaboration group. We don’t want someone to be king.” Once the group sees a theme, the individuals explore it in different directions, and later bring his/her findings to the group, as words, movements, phrases of music, lighting ideas, costumes, stage architecture, video images, and so on. The group’s assemblage and editing of those materials and ideas is a central source of our creativity. Everyone has a say in any aspect of the creation, and nobody is limited to his/her expertise. Anyone can take any kind of initiative, and no fixed sequence exists in building what comes first and what follows.

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History We were aiming at deconstructing conventional theatre and inventing new language for the theater when we organized in 1984. What we have created is work that is as formally complex as it is socially complex. Our most visible and well-known artworks fall somewhere within the boundaries of performance, oftentimes accompanied by museum installations. In the early 1980s, a cornucopia of different cultural movements emerged in Japan in tandem with the rapidly growing economy. Our early years (from Pleasure Life to pH) coincided with those movements: post-modernism, subculture, performance art, and the Japanese underground “small theater” movement, the interaction between the arts and philosophers and intellectuals, a growing interest in the arts among the general public, and the rise in corporate sponsorship for the arts. At the same time the work of many artists from overseas was being introduced to Japan. The founding members of dumb type were graduating from the university, and our former director Teiji Furuhashi returned from New York where he had lived for some time. Soon, Spiral and Wacoal Arts Center, a corporate-funded art producer in Tokyo, produced our first major world-tour performance piece pH (1990). We received our biggest-ever four-year grant from the Japanese Saison Foundation in 1993, becoming the second recipient of Japan’s first long-term art support program. With pH, dumb type began performing world wide. In the 1990s, Japan’s “bubble” economy burst, the worldwide AIDS crisis escalated, and Japanese society responded with a series of drastic changes. Local grass-roots activism arose to counter the AIDS crisis, and issues of sexuality and human rights were loudly discussed in private circles and public arenas. dumb type was thrown into the thick of it when Furuhashi came out to his colleagues and friends about his HIV infection, and the impact was devastating. Our work S/N, the last directed by Furuhashi before his death in 1995, was born under such circumstances. What now? Our work has naturally changed after Furuhashi’s death. With the experience of painful loss and grief, and new insight gained, our work style has turned somewhat more introverted, looking within one’s self more than at the outside world. It doesn’t mean we have lost interest in what is happening “on the outside.” Living in the post-9/11 world, it is impossible to not be concerned with what is happening worldwide: wars, terrorism, crimes, poverty, hunger, environmental issues, falling economies, political corruption, and so on. Under these circumstances what does it mean to be personally and professionally committed to art? What can art do to make a difference? This has always been dumb type’s concern. But now we address it and the world with more “internal eyes”. We continue to explore what it means to be a human being and reject the trappings of a pre-conceived idea. But how should (could) we look, where, for what answers, through what eyes, and from what angle, in order to live, commit and move on? It is also worth a mention that the advancement in computer technology, most notably the shift from analogue to digital in music and video, along with the changes in our society, are influencing both the formal and thematic language of our work. Thus, OR, and memorandum.

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Biographies PLAN FOR SLEEP (1984-86) … EVERY DOG HAS HIS DAY (1985) … THE ORDER OF THE SQUARE (1985) … 036 PLEASURE LIFE (1987) … PLEASURE LIFE (1988) … pH (1990–93) was dumb type’s largest scale work to-date integrating performance, installation, video, and printed material. The audience’s seats lined up above both sides of a slender sixteen-meter white linoleum floor. On the stage a horizontal bar moved across the floor suggesting a giant photocopy machine. Installed on the bottom surface of the bar were a number of slide projectors, which projected images onto the floor where performers (human beings) acted and danced under the mercy of and/or against the machine (society.) S/N (1992-96) was triggered by the former director Teiji Furuhashi’s infection by the HIV virus that causes AIDS, the political issues of AIDS, and, more significantly, dumb type’s overriding interest in how individual identity is conditioned within each individual’s self. The performance challenged the fine line between the fiction of theatre and reality through its unusual ‘live’ talk show style (in which Teiji himself comes out, together with a couple of other performers, as “homosexuals” and “HIV positive”). A wide range of images, texts and vignettes surrounding such themes were combined with strikingly new dance as well as video and slides, lighting and sounds. The piece reverberated across many groups in society; its message “what can art do for society and the individual?” shocked both the theatre and the visual arts community, as well as the general community and activists, all living with the HIV/AIDS crisis. OR (1997-1999) was created in France in March 1997, following a one-month residency at the Théâtre du Manège in Maubeuge. OR is a reflection on the border(s) between life and death, the meaning of its title ranging from the binary system, to the alternative A or B, the 0 (zero) radius, an operation room. Some of the most advanced techniques combined the human body and various media to elicit a range of viewpoints, whether religious, philosophical, medical, cultural, or emotional, onto a blinding-white stage that consisted of a circular floor and semi-cylindrical wall. dumb type described the work as being “about the state of ‘white out’ like in a blizzard, where you are deprived of ability to see, where you can’t recognize anything, where you don’t know where you stand anymore, where you may not know whether you are alive OR dead. But what distinguishes one from the other? Where is the border? What is death? What is it?” memorandum (1999-2002) The first version of this show was presented in October 1999 by Le Manège, Scène Nationale de Maubeuge, France. The final version was premiered at the National Theatre of Tokyo on November 27th 2000. Combining elements of multimedia, dance and fragmented narrative, memorandum explores the hazy dimensions of recall that ground and disquietly erode our experience minute-by-minute. Voyage, the last performance by dumb type was first presented by the Centre de Développement Choréographique de Toulouse in April 2002 at the Théâtre National de Toulouse, France. Art installations by dumb type include Lovers (Dying Pictures, Loving Pictures), created in 1994 by Furuhashi and now in the permanent collection of Museum of Modern Art in New York. It consists of a dark square room with walls appearing empty at first and gradually imaging several nudes, nearly life-size men and women, walking, standing still, and embracing one another in slow movement. In the time a viewer approaches a wall to see the images better, a new figure, Furuhashi himself, appears, moves slowly in the viewer’s direction, and then vanishes on the wall behind the person. The installation piece OR, related to the performance work, was commissioned by the Inter Communication Center (ICC) in Tokyo for its opening in April 1997. A new version of the OR installation was purchased by the Musée d’Art Contemporain Lyons in 2000. This artwork was exhibited by the CDC in Toulouse (2002) and Lille 2004 - European Capital of Culture in Lille (2004), which presented also Lovers.

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frost frames was created by artistic director Shiro Takatani in May 1998 for the Spiral Hall Tokyo and was presented at the Musée d’Art Contemporain Lyons, EXIT Festival Créteil, VIA Festival Maubeuge (France) in 2000, and CDC in Toulouse in 2002. Other installations in 1999 and 2000 include Love/Sex/Death/Money/Life, exhibited in Artsonje Center Seoul, Korea, and Vision Ruhr Dortmund, Germany; and Cascade at the Rotonda della Besana Milan, Italy and Haus der Culturen der Welt Berlin, Germany. Commissioned by NTT ICC , the new installation Voyages, related to the performance Voyage, opened in Tokyo in August 2002. Music projects include Takatani’s contribution as artistic director on the first opera by Ryuichi Sakamoto, which premiered in September 1999. In March 1998, dumb type designed the “symphonic novella” by Gérard Hourbette for the first cycle of Dangerous Visions, a project of Art Zoyd and the Orchestre National de Lille, France, combining philharmonic orchestra and new sound and image technologies.

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Biographies Shiro TAKATANI Born in 1963. Graduated from Environmental design - Art Dept. of Kyoto City University of Arts. Shiro Takatani joined Dumb Type as one of the founders in 1984, and has been involved especially in the visual and technical aspects. In his solo activities, he participated in a municipal project of Groningen, Holland (artistic director: Daniel Libeskind), in collaboration with Akira Asada in 1990. He created images for the collaboration concert Dangerous Visions with Art Zoyd and the National Orchestra of Lille in March 1998. He did visual direction for the Ryuichi Sakamoto's opera LIFE September 1999. He released solo video installation work frost frames 1998, optical flat 2000 (a collection of The National Museum of Art, Osaka, Japan). Also, he created the video installation piece IRIS in collaboration with Fujiko Nakaya, a fog sculptor, for the Valencia Biennial in 2001. Commissioned by the Natural History Museum of Latvia in Riga, for the exhibition "Conversations with Snow and Ice", his installation Ice Core was presented in November-December 2005, as part of a retrospective of the works of the snow and ice scientist Ukichiro Nakaya (1900-1962). Under the auspices of the Japan Foundation's Australia-Japan Exchange Project 2006, Takatani was selected for a one-month artist residency in Australia, culminating in an exhibition of his work, Chrono, in Melbourne. In March 2007, he completed a new audio-visual installation, LIFE – fluid, invisible, inaudible… in collaboration with Ryuichi Sakamoto, commissioned by YCAM (Yamaguchi Center for Arts and Media). The DVD version of LIFE – fluid, invisible, inaudible… was released in May 2008. Also, Shiro Takatani traveled to the Arctic (Greenland and Iceland) by sailboat joining the arctic expedition project “Cape Farewell” in 2007, the related exhibition was held July-August 2008 at Kagakumiraikan (National Museum of Emerging Science and Innovation) in Tokyo. Recently he created new performance Die helle Kammer (La Chambre claire) through three week residency in Halle, Germany in 2008. The world premiere was in June 2008, as part of the Theater der Welt Festival in Halle. New version of the performance (Spanish title: La Cámara Lúcida) was included in the Festival de Otoño (Madrid, Spain) in November 2009. Ryoji IKEDA Born in 1966. Ikeda began his activity as a sound artist and DJ in 1990. Japan's leading electronic composer Ryoji Ikeda focuses on the minutiae of ultrasonics, frequencies and the essential characteristics of sound itself. His work exploits sound's physical property, its causality with human perception and mathematical dianoia as music, time and space. Using computer and digital technology to the utmost limit, Ikeda has been developing particular "microscopic" methods for sound engineering and composition. Since 1995 he has been intensely active in sound art through concerts, installations and recordings: the albums +/- (1996), 0 degrees (1998) and Matrix (2000) have been hailed by critics as the most radical and innovative examples of contemporary electronic music. With Carsten Nicolai, he works the collaborative project cyclo., which examines error structures and repetitive loops in software and computer programmed music, with audiovisual modules for real time sound visualization. The versatile range of his research is also demonstrated by the collaborations with choreographer William Forsythe/Frankfurt Ballett, contemporary artist Hiroshi Sugimoto, architect Toyo Ito and artist collective Dumb Type, among others. Ryoji Ikeda received the Golden Nica prize at Prix Ars Electronica 2001 in the Digital Music category. Teiji FURUHASHI Born in Kyoto, Japan. Formed dumb type in Kyoto University of Arts in 1984, when he was studying Video Art and Conceptual Planning of the Arts. As a media artist, Furuhashi created and freely used visual images, music and performance in various kinds of expressive activities. These activities were usually made public by performances or installations in the group creations of dumb type and individual exhibitions such as Lovers. Teiji Furuhashi passed away on October 29th 1995 in Kyoto. Lovers is now part of the permanent collection of Museum of Modern Art in New York.

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Tours University of the Arts of Kyoto (Japon) The Museum of Modern Art of Shiga (Japon) Osaka International Arts Festival (Japon) Toga International Arts Festival (Japon) Yokohama Art Museum (Japon) Inter Communication Centre of Tokyo (Japon) New York Internat. Festival of the Arts (USA) Theater im Pumpenhaus Münster (Allemagne) ICA, London (Grande Bretagne) Musée Royal des Arts København (Danemark) Museum of Modern Art San Francisco (USA) Centro de Arte Reina Sofia Madrid (Espagne) Museum of Contemporary Art Sydney (Australie) Glyptotek Museum København (Danemark) Guggenheim Soho New York (USA) Seattle Art Museum (USA) Adelaide Festival (Australie) Festival of Granada (Espagne) Wiener Festwochen Wien (Autriche) International New Zealand Festival of Arts Wellington (NZ) Teatro Central Sevilla (Espagne) Festival Sonar Barcelona (Espagne) Biennale d'Art Contemporain Lyon (France) Landesgalerie Linz (Autriche) Festivals VISAS and VIA Maubeuge (France) Festival Exit, Maison des Arts Créteil (France) Das TAT Frankfurt (Allemagne) Marstall München (Allemagne) Ars Electronica Festival Linz (Autriche) Palermo Festival (Italie) Tramway Glasgow (Grande Bretagne) Kobe Art Village Center (Japon) Park Tower Hall Tokyo (Japon) The Wood Street Galleries Pittsburgh (USA) Festival d'Automne à Paris / Créteil Maison des Arts (France) Julidans / Stadsschouwburg Amsterdam (Pays-Bas) Expo’98 Lisboa (Portugal) Zürcher Theater Spektakel Zürich (Suisse) De Warande Turnhout (Belgique) Barbican Centre London (Grande Bretagne) Kampnagel Hamburg (Allemagne) Stockholm Cult. Capital of Europe ’98 (Suède) Donau Festival Krems (Autriche) On the Boards Seattle (USA) Portland Institute for Contemporary Art (USA) Walker Art Center Minneapolis (USA) Museum of Contemporary Art Chicago (USA) Artsonje Museum Kyongju (Corée) Artsonje Center Seoul (Corée) Haus der Kulturen der Welt Berlin (Allemagne) Festival de Otono Madrid (Espagne) Charleroi/Danses Charleroi for Brussels 2000 (Belgique) GRAME / Maison de la Danse Lyon (France)

C.D.C. /Théâtre de la Cité Toulouse (France) Musée d'Art Contemporain de Lyon (France) Salon du Design, Milano (Italie) The Museum of Art, Kochi (Japon) New National Theatre, Tokyo (Japon) Theater Drama City, Osaka (Japon) Vision Ruhr- Dortmund (Allemagne) Tanzhaus NRW Düsseldorf (Allemagne) Festival de la Bâtie Genève (Suisse) New Opera of Tel Aviv (Israel) Valencia Biennial (Espagne) Le Parvis, Tarbes (France) Festival Artrock, St Brieuc (France) Singapore Festival of Arts (Singapour) Japan Foundation, Kuala Lumpur (Malaisie) Saitama Arts Theater, Tokyo (Japon) Theater Drama City, Osaka (Japon) Lithuanian National Opera and Ballet Theatre, Vilnius (Lithuanie) Vanemuine Theatre,Tartu (Estonie) Latvijas Nacionala Opera, Riga (Lettonie) Le-Maillon Théâtre de Strasbourg (France) Deutsches Nationaltheater, Weimar (Allemagne) Modern Dance Association of Korea, Seoul (Corée) La Biennale di Venezia - Teatro Piccolo Arsenale, Venezia (Italie) Biwako Hall, Shiga (Japon) Bangkok Playhouse (Thailande) Melbourne International Festival of the Arts (Australie) Redcat Center - California Institute of the Arts, Los Angeles (USA) Pittsburgh Dance Council (USA) Cinémas du futur / Lille 2004 European Capital of Culture (France) Yamaguchi Center for Arts and Media (Japon) Novel Hall for Performing Arts, Taipei (Taiwan) 3 Wochen mit Pina Bausch Festival, Düsseldorf (Allemagne) Théâtre d’Angoulême (France) Le Carré des Jalles, St Médard en Jalles (France) Dansens Hus, Stockholm (Suède) The Bergen International Festival, Bergen (Norvège) Modern Dance Association of Korea, Séoul (Corée) Muffathalle, München (Allemagne) Altstadtherbst / Isis Zelt, Düsseldorf (Allemagne) La Comète, Châlons en Champagne (France) Théâtre de Nîmes (France) Posthof, Linz (Autriche) Tramway, Glasgow (R.U.) Zendai MoMA - Shanghai Museum of Modern Art (Chine) Cankarjev Dom, Ljubljana (Slovénie) Melbourne Internernational Festival (Australie) XI Festival Iberoamericano de Teatro, Bogotá (Colombie) EMPAC, Troy (USA) Montclair State University, Montclair (USA) La Filature, Mulhouse (France) Le Volcan, Le Havre (France) Megaron, the Athens Concert Hall (Greece) Palais des Festivals et des Congrès / Festival de danse de Cannes (France)

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Contact

EPIDEMIC Richard Castelli : Directeur / Director — [email protected] Florence Berthaud : Coordination & communication — [email protected] Chara Skiadelli : Spectacles / Performances — [email protected] Hélène Stril : Installations & expositions / exhibitions — [email protected] Claire Dugot : Administration — [email protected] EPIDEMIC 15 – 15 bis, allée Massenet F-93270 SEVRAN, FRANCE T : 33 (0)1 43 83 49 53 F : 33 (0)1 43 85 60 57 [email protected] http://www.epidemic.net