In partnership with the French Embassy in Australia and MPavilion



Xavier Le Roy_In Public is a CREATIVE DIALOGUES joint initiative of the French Embassy in Australia, MPavilion, The Victorian College of the Arts - University of Melbourne, ACMI and Alliance Française Melbourne, led by DANCEHOUSE - with special thanks to Kaldor Public Art Projects and Carriageworks, Sydney. Film program presented in partnership with LE CND, Un Centre d'art pour la danse (Paris).

Le Roy and guests discuss the role(s) of the moving body within the context of contemporary culture; the social, the ethical and the political.



WHAT TRANSFORMS?  Today, the choreographed/performed body is not confined to the studio or a black box theatre but occurs in spaces initially dedicated to other art forms or not designed for art at all. This talk will be looking at the way dance, performance and choreography have started to inhabit and transform public space. And vice versa. It will also explore the way these spaces promote diverse temporal, social and spectator experiences. How is choreography and performance transforming the way we understand our contemporary body in both urban and 'inner' space?


Xavier Le Roy
Mick Douglas - artist, curator, writer
Wendy Lasica - urban planner and cultural producer
Becky Hilton - performer, choreographer, pedagogue, currently wiritng a book on DANCERNESS
Deanne Butterworth - choreographer and dancer

Facilitated by Lyndal Jones, media artist and professor of Contemporary Art at RMIT


WHAT TRANSMITS?  The body is not the sanctuary of truth, authenticity or uniqueness. It is deeply subjugated to culture, politics and history. - Jerome Bel
What are the forces and mechanisms that choreograph subjection, mobilization and wonder? Inspired by Beuys' reflection on the artist as a social sculptor via movement, action and thought, this talk will attempt to investigate the social mirror that is today's dancing body. How is it permeated, deliberately or not, by the socio-political? To what extent can dance provide a space to encourage political analysis and societal thought? Dance comes from nothing and leaves no material trace, what does a form so concerned with impermanence have to show us more broadly; socially, culturally, politically?


Xavier Le Roy
Jeanette Hoorn - art historian, curator, professor of Visual Cultures at University of Melbourne
Jill Orr - performance and installation artist
Scarlet Yu - Hong Kong dance maker
Prue Lang - choreographer, performer

Facilitated by Philipa Rothfield, Senior Lecturer of the Philosophy Program at La Trobe University and a dance writer for RealTime and Momm magazine (Korea). She is Dancehouse's Creative Advisor.


WHAT MATTERS?  In these times of global economic systems and the affect of the material on contemporary culture, what does it take to imagine and invent spaces where collective generating, sharing and discussing can be experienced under the title of "art "? What if artistic practices worked on emancipating themselves from the logics of commodification? If we are to understand "artistic modernity" not as a defunct historical program but as a promise yet to be activated, how can we find a way to reconfigure the aporias produced by current discourse on the "dialogue between cultures"? This conversation will look at exploring ways of talking about, making and experiencing art that really matters.


Xavier Le Roy
Mathieu Briand - Australian-based French visual artist, currentlypresenting ET IN LIBERTALIA EGO at Mona
Matthew Day - choreographer and performer
Joery Mol - Lecturer in organisations Studies at University of Melbourne

Facitlitated by Angela Conquet, Artistic Director of Dancehouse.


Dates: Saturdays, 28 November / 5 December / 12 December
Time: 3pm-4.30pm
Where: MPavilion - please note this event is NOT at Dancehouse
Cost: FREE event





Lyndal Jones  -
Lyndal Jones has thirty years experience as an artist working across a range of media and disciplines.  She is also a Professor of Contemporary Art at RMIT.

Guest Speakers:

Xavier Le Roy:
Xavier Le Roy holds a doctorate in molecular biology from the University of Montpellier, France. Since 1991 he has worked as a dancer and choreographer and has since become one of the most influential choreographers and dance thinkers of our time. Over the past two decades, he has collaborated with numerous acclaimed dancers and artists around the world including Tino Sehgal, who has credited Le Roy as being the inspiration that led him to introduce dance precepts into the visual arts. Le Roy's work has been shown in many international festivals and institutions, including Tanz in August, Berlin; the Museum of Modern Art, New York; the National Museum of Contemporary Art, Seoul and the Julia Stoschek Collection, Dusseldorf. His solo work Product of other circumstances (1999) was presented at Dancehouse in 2009, as part of the Melbourne International Arts Festival. More recently, Le Roy's work Untitled (2012) was presented in Sydney for Kaldor Public Art Project 27, 13 Rooms (2013), which was recognised as one of the strongest and most resonant pieces in the exhibition.

Mick Douglas:
Mick Douglas is an artist and initiator of projects across performance, art and design who has worked and presented in Australia & New Zealand, South Asia, Europe & North America. His work ranges from large scale socially engaged public projects W-11 Tram: an art of journeys and tramjatra: imagining Melbourne and Kolkata by tramways; solo durational performance projects Container Walk, Carriage and Return presented at the Performance Arcade and New Zealand Festival; collective creative process-driven projects Shuttle, PPPPP practice and Pflab; and a recent series of Circulations performance installation works in Croatia, Bahamas, Rarotonga, Japan, Melbourne and Manila that explore salt to activate encounters in the dynamic inter-relations of locality and globality.  He is the artistic director and curator of Performing Mobilities, the Australian cluster of the Performance Studies International 2015 project Fluid States, and a creative practice researcher at RMIT University Melbourne.

Wendy Lasica:
Wendy originally trained and worked as a dancer and choreographer. She also holds a Masters degree in urban planning and has established a niche planning practice working at the intersection of cities and culture.  She is an award-winning theatre producer working with Brian Lipson on A Large Attendance in the Antechamber, Berggasse 19 – The Apartments of Sigmund Freud and Edmund. The Beginning, and with Lipson and Gideon Obarzanek on a new work for 2016. Wendy has been a director and board member of Next Wave Festival, chaired funding panels for Creative Victoria, developed a new strategic plan for Clunes Booktown Festival, been general manager for Stonnington Symphony, managed a playwrights' award at the State Library and was commissioned by the Australia Council to research a how-to book for emerging artists.  Wendy founded The Field in New York in the mid-1980s.   Recently she was "in conversation" with UK cultural planner, Andrew Dixon for Open House, spoke at Arts House's The Supper Club on politics and the city and MC'd the Urban Design forum for Planning Institute of Australia in September.

Becky Hilton:
Becky Hilton is an Australian dancer and performer. She also teaches, choreographs, re-stages and writes about dance. Over three decades she has collaborated with a range of Australian and international artists including Russell Dumas, Stephen Petronio, Michael Clark, Tere O'Connor, Jennifer Monson, John Jasperse, DD Dorvillier, Margie Medlin, Lucy Guerin, Mathew Barney, among others. Some of her current collaborators include Chrysa Parkinson, Ben Speth, Tino Sehgal and Xavier Le Roy. She is currently writing a book on DANCERNESS.

Deanne Butterworth:
Deanne is choreographer and dancer who performs in the work of dance and visual artists and has her own choreographic practice focusing on collaborating with others. In 2016, she is planning to undertake part time studies in Masters of Urban Planning. Deanne has worked with Shelley Lasica (1995-present), performed with Danceworks Company and Phillip Adams BalletLab; collaborated and performed with Jo Lloyd; worked with choreographers Brooke Stamp, Maria Hassabi, Lee Serle, Tim Darbyshire, Shian Law and in works by artists Alicia Frankovich, Helen Grogan, David Rosetzky and Linda Tegg.  



Facilitator:  Philipa Rothfield
Philipa Rothfield is an Honorary Senior Lecturer in the Philosophy program, La Trobe University. She is a dance reviewer for RealTime arts magazine and Momm magazine, Korea. She is co-convenor of the Choreography and Corporeality working group, International Federation of Theatre Research. She has been dancing on and off for some decades. As a philosopher, she writes on French philosophy, political philosophy, feminism and postmodernism, specialising in philosophy of the body. She is currently writing a book on dance and philosophy. She has published on dance in relation to Merleau-Ponty, Whitehead, Nietzsche, Klossowski and Ravaisson. She is Dancehouse's Creative Advisor.

Guest Speakers:

Xavier Le Roy

Jil Orr:
Jill Orr has delighted, shocked and moved audiences through her performance installations which she has presented internationally from the late nineteen seventies to now.  Orr's work centres on issues of the psycho- social and environmental where she draws on land and identities as they are shaped in, on and with the environment be it country or urban locales. Orr grapples with the balance and discord that exists at the heart of relations between the human spirit, art and nature. Jill Orr was represented in the inaugural Venice International Performance Art Week in 2012 where she presented The Promised Land to international acclaim. She has since been one of ten international performance artists to present at the Bipolar Performance Art Meeting in Sopot, Poland 2014 and she has mesmerized audiences with her work for the MAP Festival, Melaka, Malaysia, 2014. Jill is a recent recipient of the Australia Council Fellowship and has completed her latest body of work, Antipodean Epic, that has been developed from site-specific performative photographs and video which culminated as a live performance for the Mildura Palimpsest Biennale in October this year.

Scarlet Yu:
Scarlet Yu is Hong Kong born dance-artist; she worked as rehearsal director and performer at the Arts Fission Company in Singapore from 2000 until 2010. She developed her own projects, while working with various artists and companies, including: theater director Haris Pasovic (Bosnia), and Teatro de los sentidos (Spain), Xavier Le Roy, Untitled (2014), Untitled (2005-2015) for Bologna Live Arts Week, Retrospective and title in process – workshop for Venezia Biennale Danza College 2015. Scarlet's investigations focus on the transformative potential of autobiographical material in choreography.

Jeanette Hoorn:
Jeannette Hoorn is an art historian, curator and film historian who holds a personal chair in Visual Cultures at the University of Melbourne. She has published eight books and many articles in the fields of Gender and Art and she is a pioneer in digital learning, having designed an on-line tutorial based on Charles Chauvel's classic Australian film Jedda in 2000. Professor Hoorn is currently working on establishing international collaborative projects in on-line platforms bringing together the collections of the National Gallery of Victoria in Melbourne, MoMA in the New York and the Huntington San Marino.

Prue Lang:
After graduating from VCA, Prue joined Meryl Tankard's Australian Dance Theatre. In 1996 she moved to France to work with Choreographic National Centre in Angers (Bouvier/Obadia) and Compagnie Cre-Ange in Paris. In 1999 she began working with William Forsythe as a leading soloist and choreographer for Frankfurt Ballet and The Forsythe Company. She created five original works for the company and is a leading exponent of Forsythe's improvisation technologies and a researcher with Motion Bank project. Since 2005 she has presented work throughout the world including Theatre National de Chaillot Paris, Mousonturm Frankfurt, Tanzhaus NRW Düsseldorf, HAU Berlin, STUK Belguim, Festival Mettre-en-scene Rennes, Festival temps d'images Paris, Rencontres choregraphiques internationales de Seine-Saint-Denis, Mains d'oeuvres, Festival faits d'hiver Paris and the TATE Modern. She has been voted Most Innovative Production, Most Outstanding Choreographer and most Outstanding dancer by Balletanz's Annual Critics' Survey, awarded in Hybrid Art by the Prix Ars Electronica, and won Green Room awards for Design, Choreography and Best Ensemble. In 2014, Prue relocated to Melbourne.



Facilitator:  Angela Conquet is artistic director of Dancehouse. Before moving to Australia in 2011, she worked for 11 years in Paris as a dance curator and producer. Her strongest current interests are in new cultural policies and alternative economic models that value arts as a viable indicator in defining wealth and well-being.

Guest Speakers:

Xavier Le Roy

Mathieu Briand:
Mathieu Briand is a French artist based in Melbourne. He makes artwork using different medias to destabilize and manipulate viewers into new zones of spatial and temporal perceptions. After holding a large-scale solo exhibition in two parts at Palais de Tokyo, Paris and Museum of Contemporary Art, Lyon in 2004, he has extended his range of creation to experience-type installations with a project named Ubïq : A Mental Odyssey. This ambitious time-space realisation was mounted in 2006 at the Los Angeles REDCAT Theater and later at MIT List Visual Center, Tate Modern Turbine Hall, Art Basel Unlimited and ending in 2009 at TEA on the island of Tenerife. He has been working for seven years on a new project called Et In Libertalia Ego based on the idea of the pirate's utopia of "Libertalia". The first volume of the project had been shown in La Maison Rouge-fondation Antoine de Galbert in Paris. Et In Libertalia Ego Vol.II is currently being presented at MONA.

Matthew Day:
Matthew Day is a choreographer and performer currently based between Melbourne and Amsterdam where he is undertaking a Masters of Choreography. He is interested in the potential of choreography to imagine unorthodox relationships and propose new ways of being human. Utilizing a minimalist approach, Day often works with duration and repetition, approaching the body as a site of infinite potential and choreography as a field of energetic intensity and exchange.

Joeri Mol:
Joeri researches markets – both inside and outside organisations. He is particularly interested in processes of financialisation and evaluation and how price and value are brought into an (often) uneasy relationship. Some of his research concerns are: what is the viability of critique in the face of the market? Can we emancipate ourselves from the market as employees, consumers and citizens? What is the relationship between the state and the market and what is the scope for market regulation? Some of his work has appeared in the Journal of Management Studies, Sociological Methodology, Marketing Theory, British Journal of Management and Social Networks. He often loses sleep over the uncertain fate of the dusky hopping mouse.

Image credit: Katrin Schoof