A friction of the disciplines and the modes of production
The contemporary world drives us to specialization and segregation. We cannot help ourselves to be submitted to a bulk-heading of the awareness instead of integrating ourselves to the complexity as a parameter of life. Between nomadism and homelessness, we have chosen to be active members of society while maintaining our lifestyle which we associate to our creative practices in motion. This alternative way of living permits us to contemplate and peel the reality with a certain distance, to question the human fragility in an act of poetry. The only constraints we fixed ourselves : always to be closest to the act of creation, to be in a state of fragility and of necessity to listen to the surroundings, to enrich the meetings with people, to feed ourselves on different work contexts. We are circus artists, but also dancer, choreographer, visual artist, scenograph, video artist and teacher.

We are searching for new territories both in forms of representation and also in crossbreeding of the languages of stage and image. There it is exactly, the aim of this work that becomes apparent in the friction of its various media: an exhibition can become performative when we integrate the creative process into it; a film can become a choreography when the techniques of framing and mise en abyme of the cinematographic language are brought into focus... Each stage of this work is meant to be an artwork that incorporates the context in which it is been created or shown. This approach lets us adopt a certain distance and an outer point of view meanwhile staying connected to the actual context.

     Towards a poetry of everyday life
«The psychogeography intends to study the precise laws and speci c e ects of the geographical environment, consciously organized or not, acting directly on the emotional behavior of individuals» Guy Debord 1955.

Our creative process is based on the establishment of "rules of game" according to which performers can improvise and create situations linked to the context and its environment. The contexts of creation and performance are intimately linked to a specific site. They update themselves, they re-contextualize themselves: which kind of films produces a week of workshops and artistic residency in a high school? How a filmed mouvement may give a meaning to a landscape and how the very same environment might be the source of different body states?
Mouvinsitu is an attempt to create fiction around reality by using the mouvement. Filming the dance while thinking of movies is not only to film the bodies that move, but also to ask one's self how dance could be a story, or how the body could serve for achieving a desired poetics.

Mouvinsitu comes of a lifestyle which is more and more unstable (and in particular of the reconsideration of the artist's place in society). This project is an attempt to leave space to the bodies that let themselves be contaminated by the environment that conditions them. Their malleable body language rests on the notions of fragility, of loss of references/landmarks, and of the force of re-adaption to the space in which they operate.

This project has been funded with support from the European Commission. This publication reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein.