[Music]
[Music]
your
years
[Music]
[Music]
in
[Music]
[Music]
Oh
[Music]
in
hahaha
[Music]
at
1
[Music]
1
[Music]
years
no
in
[Music]
[Music]
[Applause]
no
1
and
[Music]
[Music]
Oh
and
and
1
at
[Music]
[Music]
[Applause]
[Music]
[Applause]
[Music]
[Music]
and
[Music]
and
waka
pétain
bédard
Oh
colas
[Music]
left everything
5
because
3
m
ted rogers
pow pow pow
[Music]
sometimes
paul
[Music]
[Music]
[Music]
[Music]
[Music]
[Music]
[Music]
[Music]
[Music]
[Music]
Yes
[Music]
and
and
[Applause]
[Applause]
1
and
and
[Music]
[Applause]
and
[Music]
[Music]
no
[Music]
[Music]
[Music]
[Music]
[Music]
good evening you could attend at all
start a performance called bull
who bull that is a performance that
I realized the first time in the
p38 gallery in the 18th arrondissement
from Paris and she came from sites cited
of art it’s been around 15 years that I
practice graffiti and I wanted
show the beauty that exists in the tag
is in the graffiti there is a way
very specific which I approach the tag
it’s very dense and what
I’m interested in gestures and
how to account for this gesture
in a practice that is illegal that
of the tag and showed it in institution
that was the main question so is
strong from this 15-year experience of
graffiti I wanted to actually show
this beauty this gesture these
movements that exists in graffiti
in the tag
you must know that I consider the
tag and graffiti illegally
that is to say in a context well
particular that is the one of the street and
there are bad weather there are
interactions with people one is
likely to be stopped by the police
and all that creates a good context
particular that puts you in a state
specific that can be stress on
can end up with the ball at
belly
we can very well be relaxed because
no passersby and there next to you
or else we can be in a
state can be as apotheosis can be
let them go and do the traits
in every sense what interests me
me is to chain the letters
with each other
that is, I have a blaze a name
that I created myself mozac m os to and
the interest of talent for me is
to chain these letters there the m will be
rounded to instant chesnais with a bone
which will be slightly larger an ace
which is going to be tiny is a going acquis
look like a heart and who will go
and so in the idea how to show
this gesture this movement there that is
in situ so I start by analyzing
my movements know how I
placed in relation to the wall
how am I how I used to
compared to the walls and also the way
I interact with passersby
who were around me and so of the
blow you can see here the first
video that I realized they
are called slow momo a video in slow
motion where I could analyze all my
slow motion you have to know
also that it was the first time that
I also used a suit and the
costume as we create a new
identity
it was simply to be able to
play on seven new roles one gets
was giving in the street in relation to the
gesture and movement that is for
me essential in the practice of the tag
I wanted to try to express it
in a very simple and
very understandable you have to know that
I am graffiti tagger but also
visual artist and I always had
this dialogue this parallel between my
practical in the workshop and the one in the street
and therefore how to show this gesture
I created a system a system that
is called bull which a system that
would pick up every point of the body having
a very particular movement and that I
could pass on to a dancer and
so in the idea I really wanted
tried to analyze understand my
positioning in the street and in a
context that is really that of the
street it’s very important context of
the street because that’s what gives
all the power and beauty to the tags
for example it does not interest me
ability to reproduce a tag on a
canvas and show it in a gallery
is just hanging on it like this for
it’s meaningless to me
impossible for me there is a fashion
that of street art currently
are just interested in the end to the
graphies that exist where we will ask
artists from urban backgrounds or
from the street to reproduce what they do
simply on canvas it does not
I’m not interested and it’s also a
positioning versus when
current street art movement for me the
street art is a huge corbeil in
which we are going to put people doing
stencils of people who make the
painting of people doing graffiti
talent and ultimately we do not even know
what does it mean?
that there is a history of graffiti
if we learn cdh at the end of the years
70 early 80 with the first artist
graffiti that has been expressed on
trains and so the strong blow of a
experience favola the history of graffiti
she’s still 50 years old so at
after a while it’s also about
bring back something new and a
new positioning
me it was that of the body of the
gesture and movement and so you
can see here the scores that I have
created following the system I created and
it was here it’s a score that
I made the gallery clacs bosse to
paris and so suddenly at the very beginning I
created those partitions that I gave to
dancers and in the end I was able to adapt
and what interests me in graffiti
it’s really freedom it’s
improvisation and therefore the blow of
working with dancers I wanted
also give free rein to
improvisation with the people with whom
I was working it’s very important for
me that’s what also revitalizes my
art city if another partition a
score that is extended to you
can see this time overlay
of two partitions of two lines and
it’s a score that I realized
for the first act at tokyo palace
in June
you also need to know that these partitions
have aesthetic value but
they also have an archive value
that is to say a part a part of
risk a performance she’s at a
given moment as you come to live
this experience
a few minutes ago and what
I’m interested in giving him a
perennial value so archives and if
I wanted to consider also his brushes
as archives
here you see a score that
I called bull that 2.0 I’m trying to
move this system forward and try
to bring his choreographic systems
to new horizons can see
here for example the latest studies that
I’m doing knowing that
the red dots represent times
pause and links
that exist between different
successive partitions would bring back
like kind of shortcuts so
give free rein to the dancers too
to take a red dot for example and
to go down on another partition is
to be able to chain the movements and
who feel free to interpret it
there is also the relationship to the street that is
obvious in my practice
of performance and she is not
just presented as a show
or happening in institute venues
there tradewind or like here in a theater
there is also the street I also like this
idea of coming back to the street in space
public
it’s very important to me in in
the practice of the tag she can assimilate
a kind of little terrorism in the
meaning where we give ourselves the right to power
tag is where we want when we want
I also like this idea of being able to
do any performance at any
moment and in any place and from
blow here it was at the gallery the module
in the 18th arrondissement of Paris where
I organized this performance in a
urban context
there is something also two very
important in the in the question of
the performance when we ask ourselves
question of performance one arises
also the question of the costume and therefore the
blow his costumes his references
come from countries that I have that I have
could visit such as lebanon syria or
again tunisia and so suddenly it’s
a mix of lots of influences
influence also at the level of culture
Georgian at the tag and
the alphabet but also the du suit
the way it is treated on this cotton
which is red it also reminds the
tag way with the dripping them
glasses are glasses of the 60s
can be to influence hippie and
so we play we play on a lot of
references that ultimately come to create
a choreography there is a
very singular performance which
I’m interested is also the creation of a
character as in the graffiti we get
creates a blaze a pseudonym month mozac
why not create a character in
all its complexity and so suddenly I
wanted to create this character who
would come to be like a kind
here are two fictional characters who
would come to interpret the roles that I
give him is so I wanted to also
worked on the ghostly appearance
the aspect also that can make think
also to the burqa which are references
also compared to what I like in
fiction or even in science fiction
with works like philippe
druillet or even works like
star wars and so it takes
I also like this this aspect
enigmatic ghostly or even
spiritual here you can see the
last fabric I made for the
performance called us are
tunisia so there with a look a lot
more Tuareg with a chèche that comes
also hide as in the practice of
graffiti where we hide the notion of
hide identity really interests me
here the performance we in tunisia and
so in the end what interests me in
starting from the practice of the tag which is
a practice that really belongs to
lego because we put his name how
to be able to create a fictional universe where
each of the characters I would come
created animate a fiction is so what
which interests me in the end is to create
a cosmogony here I thank you
[Applause]
[Music]
[Music]
your
years
[Music]
[Music]
in
[Music]
[Music]
Oh
[Music]
in
hahaha
[Music]
at
1
[Music]
1
[Music]
years
no
in
[Music]
[Music]
[Applause]
no
1
and
[Music]
[Music]
Oh
and
and
1
at
[Music]
[Music]
[Applause]
[Music]
[Applause]
[Music]
[Music]
and
[Music]
and
waka
pétain
bédard
Oh
colas
[Music]
left everything
5
because
3
m
ted rogers
pow pow pow
[Music]
sometimes
paul
[Music]
[Music]
[Music]
[Music]
[Music]
[Music]
[Music]
[Music]
[Music]
[Music]
Yes
[Music]
and
and
[Applause]
[Applause]
1
and
and
[Music]
[Applause]
and
[Music]
[Music]
no
[Music]
[Music]
[Music]
[Music]
[Music]
good evening you could attend at all
start a performance called bull
who bull that is a performance that
I realized the first time in the
p38 gallery in the 18th arrondissement
from Paris and she came from sites cited
of art it’s been around 15 years that I
practice graffiti and I wanted
show the beauty that exists in the tag
is in the graffiti there is a way
very specific which I approach the tag
it’s very dense and what
I’m interested in gestures and
how to account for this gesture
in a practice that is illegal that
of the tag and showed it in institution
that was the main question so is
strong from this 15-year experience of
graffiti I wanted to actually show
this beauty this gesture these
movements that exists in graffiti
in the tag
you must know that I consider the
tag and graffiti illegally
that is to say in a context well
particular that is the one of the street and
there are bad weather there are
interactions with people one is
likely to be stopped by the police
and all that creates a good context
particular that puts you in a state
specific that can be stress on
can end up with the ball at
belly
we can very well be relaxed because
no passersby and there next to you
or else we can be in a
state can be as apotheosis can be
let them go and do the traits
in every sense what interests me
me is to chain the letters
with each other
that is, I have a blaze a name
that I created myself mozac m os to and
the interest of talent for me is
to chain these letters there the m will be
rounded to instant chesnais with a bone
which will be slightly larger an ace
which is going to be tiny is a going acquis
look like a heart and who will go
and so in the idea how to show
this gesture this movement there that is
in situ so I start by analyzing
my movements know how I
placed in relation to the wall
how am I how I used to
compared to the walls and also the way
I interact with passersby
who were around me and so of the
blow you can see here the first
video that I realized they
are called slow momo a video in slow
motion where I could analyze all my
slow motion you have to know
also that it was the first time that
I also used a suit and the
costume as we create a new
identity
it was simply to be able to
play on seven new roles one gets
was giving in the street in relation to the
gesture and movement that is for
me essential in the practice of the tag
I wanted to try to express it
in a very simple and
very understandable you have to know that
I am graffiti tagger but also
visual artist and I always had
this dialogue this parallel between my
practical in the workshop and the one in the street
and therefore how to show this gesture
I created a system a system that
is called bull which a system that
would pick up every point of the body having
a very particular movement and that I
could pass on to a dancer and
so in the idea I really wanted
tried to analyze understand my
positioning in the street and in a
context that is really that of the
street it’s very important context of
the street because that’s what gives
all the power and beauty to the tags
for example it does not interest me
ability to reproduce a tag on a
canvas and show it in a gallery
is just hanging on it like this for
it’s meaningless to me
impossible for me there is a fashion
that of street art currently
are just interested in the end to the
graphies that exist where we will ask
artists from urban backgrounds or
from the street to reproduce what they do
simply on canvas it does not
I’m not interested and it’s also a
positioning versus when
current street art movement for me the
street art is a huge corbeil in
which we are going to put people doing
stencils of people who make the
painting of people doing graffiti
talent and ultimately we do not even know
what does it mean?
that there is a history of graffiti
if we learn cdh at the end of the years
70 early 80 with the first artist
graffiti that has been expressed on
trains and so the strong blow of a
experience favola the history of graffiti
she’s still 50 years old so at
after a while it’s also about
bring back something new and a
new positioning
me it was that of the body of the
gesture and movement and so you
can see here the scores that I have
created following the system I created and
it was here it’s a score that
I made the gallery clacs bosse to
paris and so suddenly at the very beginning I
created those partitions that I gave to
dancers and in the end I was able to adapt
and what interests me in graffiti
it’s really freedom it’s
improvisation and therefore the blow of
working with dancers I wanted
also give free rein to
improvisation with the people with whom
I was working it’s very important for
me that’s what also revitalizes my
art city if another partition a
score that is extended to you
can see this time overlay
of two partitions of two lines and
it’s a score that I realized
for the first act at tokyo palace
in June
you also need to know that these partitions
have aesthetic value but
they also have an archive value
that is to say a part a part of
risk a performance she’s at a
given moment as you come to live
this experience
a few minutes ago and what
I’m interested in giving him a
perennial value so archives and if
I wanted to consider also his brushes
as archives
here you see a score that
I called bull that 2.0 I’m trying to
move this system forward and try
to bring his choreographic systems
to new horizons can see
here for example the latest studies that
I’m doing knowing that
the red dots represent times
pause and links
that exist between different
successive partitions would bring back
like kind of shortcuts so
give free rein to the dancers too
to take a red dot for example and
to go down on another partition is
to be able to chain the movements and
who feel free to interpret it
there is also the relationship to the street that is
obvious in my practice
of performance and she is not
just presented as a show
or happening in institute venues
there tradewind or like here in a theater
there is also the street I also like this
idea of coming back to the street in space
public
it’s very important to me in in
the practice of the tag she can assimilate
a kind of little terrorism in the
meaning where we give ourselves the right to power
tag is where we want when we want
I also like this idea of being able to
do any performance at any
moment and in any place and from
blow here it was at the gallery the module
in the 18th arrondissement of Paris where
I organized this performance in a
urban context
there is something also two very
important in the in the question of
the performance when we ask ourselves
question of performance one arises
also the question of the costume and therefore the
blow his costumes his references
come from countries that I have that I have
could visit such as lebanon syria or
again tunisia and so suddenly it’s
a mix of lots of influences
influence also at the level of culture
Georgian at the tag and
the alphabet but also the du suit
the way it is treated on this cotton
which is red it also reminds the
tag way with the dripping them
glasses are glasses of the 60s
can be to influence hippie and
so we play we play on a lot of
references that ultimately come to create
a choreography there is a
very singular performance which
I’m interested is also the creation of a
character as in the graffiti we get
creates a blaze a pseudonym month mozac
why not create a character in
all its complexity and so suddenly I
wanted to create this character who
would come to be like a kind
here are two fictional characters who
would come to interpret the roles that I
give him is so I wanted to also
worked on the ghostly appearance
the aspect also that can make think
also to the burqa which are references
also compared to what I like in
fiction or even in science fiction
with works like philippe
druillet or even works like
star wars and so it takes
I also like this this aspect
enigmatic ghostly or even
spiritual here you can see the
last fabric I made for the
performance called us are
tunisia so there with a look a lot
more Tuareg with a chèche that comes
also hide as in the practice of
graffiti where we hide the notion of
hide identity really interests me
here the performance we in tunisia and
so in the end what interests me in
starting from the practice of the tag which is
a practice that really belongs to
lego because we put his name how
to be able to create a fictional universe where
each of the characters I would come
created animate a fiction is so what
which interests me in the end is to create
a cosmogony here I thank you
[Applause]
[Music]
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