Quel est son lien au spectacle? Son questionnement croise le mien. Que la sarabande commence! Pourquoi le Japon?
Pour Michaux, d'abord. Il peignait et dessinait. Nadj aussi. Le trait fourmillant de l'un n'est pas sans rappeler le coup de plume minutieux et dense de l'autre. For the last twenty years Josef Nadj has never departed from the same ritual. Each time he returns to Pannonia, he takes the wheel of an ageless Russian four wheel drive, Nikon on the passenger seat, to roam the land of his birth in the north of Vojvodina. Nadj photographs landscapes: fields, rivers, wild and cultivated tracts, desert plateaux, the high grasses.
This time, indoor landscapes. Run-down petrified buildings, scattered across the rolling countryside in these wide-open expanses of Vojvodina.
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The occupants missing — vanished without leaving an address. Today these buildings, open to the four winds, are destitute dislocated silent relics, primitive sculptures in the process of dissolution. Clay, straw and dirt already overtaken by vegetation, soon returning to earth, time, and nature. Inside, jumbled together on worn-out walls: chalk, pigment, strata of clay and limestone, askew cracks, faded family photos, arabesques of colour blanched by the passing years, clocks with time suspended….
From these collective works where natural agents and temporal material are superimposed, Nadj has grasped and seized all their picturality. Nadj gives shape — in passing — to the metaphysics of sites and the dramaturgy of absence, pursuing the trace left by the passage of humans in the labyrinth of memory and time.
Creation 1st version — Last landscape. This singular and earnest self-portrait brings together a deep and earthly dance with an intense musical score.
The spatial layout uses a number of visual and audio devices, such as this blackboard, subjected to furious chalk attacks by the two musicians, or this small house-shaped metal construction that they punch throughout the performance. A previous version of this piece, Last Landscape , was shown in Look with the whole body, like a painter, transpose a vision, create a show from that experience.
This is what Josef Nadj is trying to do together with composer-percussionist Vladimir Tarasov. On the stage, images replace words, while a captivating dialogue weaves itself between music and dance.
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The musician-impro artist arranges his sounds and rhythms in a number of variations. The choreographer-dancer describes a subtle world with gestures and masks.
His dance is a strange one. It seems to come from far away, capturing the small, physical, almost archaic movements which precede the creation of a work. From sequences to paintings, the space is constantly changing with the use of shadow and light, curious materials and surfaces, closing and distancing effects. Beyond time and with an enchanted rapport with objects that define his world, Josef Nadj choreographs each impulse behind each gesture.
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Taken from the Snow white's world series universe, these figures are as decorative as they are a toys and collectors. This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. Box Office Mojo.
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Retrieved 18 September Retrieved 2 February Beck, J. Full-length French animated movies list. Animation topics. Limited animation Masking Rotoscoping Exposure sheet. Abstract animation visual music Adult animation Animated cartoon Animated sitcom Animated documentary Educational animation Erotic animation Independent animation Instructional animation.
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