While the superimposition of genres blurs boundaries, today the pointe shoe remains to dance what the wire is to tightrope walking: an identity graft. When the dancer accepts, works on and reinvents the transformations of his own body, the tattoo artist and his stylet completely change thinking by modifying the human landscape for life. The dancer’s pointe shoe and this scarring tool are a metaphor for each other: they betray the same irrepressible desire for transformation. In “Tattoo”, artists from the ballet and the choreographer generate friction between the gestural languages being asserted, risking a disruption of identities. The transparency of Philippe Combeau’s clothes clinging to the bodies disguises them and erodes their unity. “Constructions métalliques”, a work by electroacoustic composer Christian Zanési, sublimates sounds from the forge and workers’ voices and evokes the colossal powers used to turn the world upside down for good, transforming it in an indelible way.
For his first encounter with dancers from the Ballet National de Marseille, Kelemenis contrasts the characteristic imbalances and fluidity of his movement with the academic technique fitted out with its most essential symbol: the pointe shoe. In “Tattoo”, he explores and reveals how each of the two languages marks the other with its own accent.
When excellence is on intimate terms with beauty, there is nothing you can say.
Jean Barak, La Marseillaise, 21/10/07