{"node_view":"\u003Carticle class=\u0022node\u0022\u003E\n  \u003Ch1 class=\u0022node-title\u0022\u003EBeuil summer of 81\u003C\/h1\u003E\n\n  \n\n          \u003Csection class=\u0022field field-name-field-description field-type-textauthor field-label-above\u0022\u003E\n    \t\u003Cdiv class=\u0022field-label\u0022\u003EDescription\u0026nbsp;\u003C\/div\u003E\n        \u003Cdiv class=\u0022field-item even \u0022\u003E\u003Carticle class=\u0022filtred_html\u0022\u003E:\u003Cstrong\u003E Slate N\u00b065 \u2013 CRIA\u003Cbr \/\u003E BEUIL summer of 81\u003C\/strong\u003E\u003Cbr \/\u003E\u00ab inauguration \u00bb of the CRIA week \u003Cbr \/\u003E\u003Cbr \/\u003ESo from August 1 to August 9, a dozen artists will be in Beuil (a small village in the mountains above Nice) , along with last minute participants in order to put together this week of artistic creation. The experiment is off to a good start and will most certainly prove to be very rich -- even though the national Mercantour Park seems to want to withdraw its financial support at the last minute (no comment!).\u003Cbr \/\u003E\u003Cbr \/\u003ELike last year we will create a celebration bringing together performances and daily life, in relation to the site, to the population, the architecture, local life... a harmonious mix of the familiar and the esoteric. Below is an idea of the program (public events that have been previously \u201cannounced\u201d are underlined)\u003Cbr \/\u003E\u003Cbr \/\u003E-arrival on Saturday evening. A concert by a German orchestra (nothing to do with us)\u003Cbr \/\u003E\u003Cbr \/\u003E-Sunday at noon meeting of the team, preparing the place for the first event:\u003Cbr \/\u003E\u003Cbr \/\u003E-6 PM a theatrical \u201cinauguration\u201d by the mayor of the week, with photographs taken etc.\u003Cbr \/\u003E\u003Cbr \/\u003E9:30 PM screening of last summer\u0027s pictures\u003Cbr \/\u003E\u003Cbr \/\u003E-Monday 9 PM music below the villagers\u2019 windows (us, and the A.M.E. trio plus Yves)\u003Cbr \/\u003E\u003Cbr \/\u003EEarlier in the day, beginning of: creative work with the children, theatrical photography, characters.\u003Cbr \/\u003E\u003Cbr \/\u003EMonday\/Tuesday\/Wednesday, C\u00c9L\u00c9BRAL II on the Beuil mountain. I suggest continuing last summer\u0027s research, which is: the birth of a celebration in the middle of nature. This time participants will have three days to enjoy the place and to leave \u0022traces\u0022 of their passage.\u003Cbr \/\u003E\u003Cbr \/\u003EThursday 9 PM the CRIA jam session, which means that we show each other what we have discovered: pictures, sounds, characters etc. We show our report on the C\u00e9l\u00e9bral II (or on Friday).\u003Cbr \/\u003E\u003Cbr \/\u003ESaturday 9 PM the party. A theatrical ball, we dance, and look on... Sunday noon, lunch with...?\u003Cbr \/\u003E\u003Cbr \/\u003EThis event in Beuil should enable the CRIA to balance its budget. It will be hard, but... in September we should be able to return to a healthy situation: poor, but without debts! When will the authorities understand that we are the cultural organization of the future?? Anyway.\u003Cbr \/\u003E\u003Cbr \/\u003EReminder: the educational subsidy should come in soon, Anne Lacour has the check to reimburse our expenses. The Ministry of culture is finally giving the CRIA a subsidy: 30 000 Francs. The season 1981\/1982 will begin by a series of meetings and reflections (amongst ourselves).\u003Cbr \/\u003Eall my best to all\u003C\/article\u003E\u003Caddress rel=\u0022author\u0022\u003EJean-Claude Bussi\u003C\/address\u003E\u003C\/div\u003E\n        \u003C\/section\u003E\n      \n    \u003Csection class=\u0022field field-name-field-concepteur field-type-taxonomy-term-reference field-label-above field-personne\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003ECreator\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003EJean-Claude Bussi\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \n    \u003Csection class=\u0022field field-name-field-organisateur field-type-taxonomy-term-reference field-label-above field-personne\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003EProducer\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003EJean-Claude Bussi\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \n\n    \t\u003Carticle class=\u0022node-effectuation\u0022\u003E\n  \u003Ch1 class=\u0022effectuation-title\u0022\u003E\u003C\/h1\u003E\n\n  \n    \u003Csection class=\u0022field field-name-field-topologie field-type-taxonomy-term-reference field-label-above\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003ETopology\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003Ein the countryside\/village\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \n    \u003Csection class=\u0022field field-name-field-lieu field-type-taxonomy-term-reference field-label-above\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003EPlaces\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003EBeuil\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \n\n    \u003Csection class=\u0022field field-name-field-date-de-debut field-type-text field-label-above\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003EStarting date\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003E08 01 1981\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \n\n    \u003Csection class=\u0022field field-name-field-address field-type-addressfield field-label-above\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003EAdress\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003E\u003Cspan class=\u0022country\u0022\u003EFrance\u003C\/span\u003E\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \n\n\u003C\/article\u003E  \n          \u003Csection class=\u0022field field-name-field-contexte-theorique field-type-textauthor field-label-above\u0022\u003E\n    \t\u003Cdiv class=\u0022field-label\u0022\u003ETheoretical background\u0026nbsp;\u003C\/div\u003E\n        \u003Cdiv class=\u0022field-item even \u0022\u003E\u003Carticle class=\u0022filtred_html\u0022\u003EBEUIL 1981 \u2013 CRIA\u003C\/strong\u003E\u003Cbr \/\u003E\u003Cbr \/\u003E EVENTS \u003Cbr \/\u003E\u003Cbr \/\u003EAt first our series of events will seem to be \u0022dispersed\u0022, but not only will they be investigating the creative experience, they will also be contributing to the coherence of the group and to the integration of outside individuals to the event itself, and to the establishment of a stronger relation with the \u0022village -- audience\u0022 more efficiently than an occasional entertainment would.\u003Cbr \/\u003E\u003Cbr \/\u003EExamples of events:\u003Cbr \/\u003E\u003Cbr \/\u003E-events in houses, courtyards, alleyways \u003Cbr \/\u003E\u003Cbr \/\u003E-working on colors, architecture, legends and history \u003Cbr \/\u003E\u003Cbr \/\u003E-late afternoon mini celebrations \u003Cbr \/\u003E\u003Cbr \/\u003E-on site shows, in the village \u003Cbr \/\u003E\u003Cbr \/\u003E-working outside the village (contributions by visual artists in the context of a \u0022reappropriation of a site\u0022  \u2013\u003Cem\u003EC\u00e9l\u00e9bral n\u00b02 \u003Cbr \/\u003E\u003Cbr \/\u003E\u003C\/em\u003E-contacting neighboring villages for information \u003Cbr \/\u003E\u003Cbr \/\u003E-contributing ideas - events concerning the study on \u201cthe role of the walls\u201d\u003C\/article\u003E\u003Caddress rel=\u0022author\u0022\u003EPhilippe Chartron\u003C\/address\u003E\u003C\/div\u003E\n        \u003C\/section\u003E\n              \u003Csection class=\u0022field field-name-field-contexte-theorique field-type-textauthor field-label-above\u0022\u003E\n    \t\u003Cdiv class=\u0022field-label\u0022\u003ETheoretical background\u0026nbsp;\u003C\/div\u003E\n        \u003Cdiv class=\u0022field-item odd \u0022\u003E\u003Carticle class=\u0022filtred_html\u0022\u003EThe \u003Cem\u003ETh\u00e9\u00e2tre Expos\u00e9\u003C\/em\u003E and \u003Cem\u003EC\u00e9l\u00e9bral\u003C\/em\u003E are part of an important movement created around and by the CRIA (Center for Artistic Research and Interventions) in Nice approximately  from 1975 to 1985.\u003Cbr \/\u003E\u003Cbr \/\u003EThe CRIA produced an impressive number of shows and events in institutions (schools and hospitals), and participated in a great many social movements.\u003Cbr \/\u003E\u003Cbr \/\u003EWe must remember that the social climate was rather favorable to this sort of creation. These two types of creation were also inspired by an idea expressed by J.-C. Bussi, founder of the CRIA and creator of the \u003Cem\u003ETh\u00e9\u00e2tre-Expos\u00e9\u003C\/em\u003E and \u003Cem\u003EC\u00e9l\u00e9bral\u003C\/em\u003E :\u003Cem\u003E \u00abThere is something inside each one of us which resists alienation \u00bb.\u003Cbr \/\u003E\u003Cbr \/\u003E\u003C\/em\u003EGenerally performances by modern visual artists strive to belong to a history  of contemporary art, which has been a fantasy ever since Duchamp initiated the process (this is my opinion...). Therefore performances are often photographed, filmed, dated, included in catalogs in order to appear in the artist\u2019s curriculum and in his\/her \u003Cem\u003Ebook\u003C\/em\u003E.\u003Cbr \/\u003E\u003Cbr \/\u003EOur attempts included none of this. They were produced with \u0022bare hands\u0022 , in an improvisational spirit always akin to chaos, a sort of theatrical free jazz, directed only by the introspection of the actors, and completely safe in the company of the various subjectivities which the context brought together. \u003Cbr \/\u003E\u003Cbr \/\u003EBasic criteria: \u003Cbr \/\u003E\u003Cbr \/\u003EBetween 6 and 12 executants  \u201cjuxtaposed \u201cin the same action space, each executant being closed off inside his\/her own imagination and conversing with it and acting out situations. \u003Cbr \/\u003E the \u003Cem\u003ETh\u00e9\u00e2tre Expos\u00e9\u003C\/em\u003E is indoors, and lasts a limited time.\u003Cbr \/\u003E\u003Cbr \/\u003E the \u003Cem\u003EC\u00e9l\u00e9bral\u003C\/em\u003E is outdoors, and can last anywhere from three hours to two days. \u003Cbr \/\u003E\u003Cbr \/\u003EInter-acting between the executants is not recommended.\u003Cbr \/\u003E\u003Cbr \/\u003EThe dramatic progression is usually silent, without a text, based on the objects, costumes, situations, corporal and postural events; the main reference however is theatrical rather than visual. The 1960s \u003Cem\u003Ehappening\u003C\/em\u003E is a reference, stripped of its provocative aspect.\u003Cbr \/\u003E\u003Cbr \/\u003EThe vocabulary, the figures and styles, as well as the imagery, are a bit archaic, and there are no signs of modernity. Like slapdash rituals more or less thrown together, never to be completed.\u003Cbr \/\u003E\u003Cbr \/\u003EThe goal is an expressive self exhibition, usually without an audience.\u003Cbr \/\u003E Here one might quote J.-C. Bussi :\u003Cem\u003E \u00ab In this epic poem facing the sun, he is exhibiting the movements of his thoughts in a microscopic universe that he himself has established.\u0022\u003Cbr \/\u003E\u003Cbr \/\u003E\u003C\/em\u003ESeveral events in this style were produced between 1978 and 1983; here is the list: \u003Cbr \/\u003E\u003Cbr \/\u003E\u003Cem\u003ETh\u00e9\u00e2tre Expos\u00e9\u003C\/em\u003E MJC Gorbella 1978\u003Cbr \/\u003E\u003Cem\u003EMasques (Masks) \u003C\/em\u003E Valbonne chez \u00c9mile de la Tour 1979\u003Cbr \/\u003E\u003Cem\u003ELes Valises\u003C\/em\u003E (\u003Cem\u003ESuitcases\u003C\/em\u003E) Sainte Marguerite Nice 1979\u003Cbr \/\u003E\u003Cem\u003ELes Objets de la F\u00e9licit\u00e9\u003C\/em\u003E  (\u003Cem\u003EObjects of Happiness\u003C\/em\u003E) Beuil mountain 1980\u003Cbr \/\u003E\u003Cem\u003EInterventions (sans titre)\u003C\/em\u003E (\u003Cem\u003EInterventions (Untitled\u003C\/em\u003E)) Beuil village 1981\u003Cbr \/\u003E\u003Cem\u003EC\u00e9l\u00e9bral\u003C\/em\u003E Sanguini\u00e8re Esteng forest 1982\u003Cbr \/\u003E\u003Cem\u003EC\u00e9l\u00e9bral\u003C\/em\u003E Mont Agel 1983\u003Cbr \/\u003E\u003Cbr \/\u003E[Text written in 2012, Editor\u2019s note]\u003C\/article\u003E\u003Caddress rel=\u0022author\u0022\u003EPhilippe Chartron\u003C\/address\u003E\u003C\/div\u003E\n        \u003C\/section\u003E\n      \n\n\n\n    \t\u003Carticle class=\u0022node-temoignage\u0022\u003E\n  \n\u003Cdiv class=\u0022field-label\u0022\u003ET\u00e9moignage\u003C\/div\u003E\n  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003E\u003Cp\u003ER\u00e9cit de la performance.\u003Cbr\u003ER\u00e9alis\u00e9 le 27 avril 2012 \u00e0 10h \u00e0 la Villa Arson.\u003C\/p\u003E\u003C\/div\u003E\n        \n\n  \n  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003E\u003Ca href=\u0022https:\/\/soundcloud.com\/performance-art\/sans-titre-beuil-t-81\u0022 rel=\u0022soundcloud\u0022\u003Ehttps:\/\/soundcloud.com\/performance-art\/sans-titre-beuil-t-81\u003C\/a\u003E\u003C\/div\u003E\n        \n\n  \u003C\/article\u003E  \n\n    \t\u003Carticle class=\u0022node-document\u0022\u003E\n  \u003Cdiv class=\u0022field-label\u0022\u003EDocuments\u003C\/div\u003E\n    \u003Csection class=\u0022field field-name-field-type field-type-list-text field-label-inline clearfix\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003EType\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003EImprim\u00e9\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \n\n    \u003Csection class=\u0022field field-name-field-technique-description field-type-text-long field-label-above\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003ETechnique description r\u00e9f\u00e9rence\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003EM\u00e9thodologie de la recherche\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \u003C\/article\u003E    \t\u003Carticle class=\u0022node-document\u0022\u003E\n  \u003Cdiv class=\u0022field-label\u0022\u003EDocuments\u003C\/div\u003E\n    \u003Csection class=\u0022field field-name-field-type field-type-list-text field-label-inline clearfix\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003EType\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003EManuscrit\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \n\n    \u003Csection class=\u0022field field-name-field-technique-description field-type-text-long field-label-above\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003ETechnique description r\u00e9f\u00e9rence\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003E\u0026lt;em\u0026gt;Ardoise n\u00b0 65\u0026lt;\/em\u0026gt;, intention et d\u00e9roul\u00e9 de la manifestation\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \u003C\/article\u003E  \n\u003C\/article\u003E","nid":"2999"}