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Antonin De Bemels

About Me


DVD "VIDEOCHOREGRAPHIES and related documents 1999-2006"
"This collection of video works and previously unreleased material provides insight into the research and experiments Antonin De Bemels has been elaborating for more than a decade. Video, installation and scenography are just some of the artistic media he employs.
The main subject in all these works is the body, and more particularly the dancing body or rather its spatial and temporal recomposition, obtained through various editing and processing methods. Thus, overlappings, collisions, repetitions, backward and forward motions, still images, residual images, as well as syncopated and elliptical editing concur to hinder, repress and condition movement’s natural fluidity.
This balance of power gives rise to fragmented bodies that struggle between the intervals and cuts. Bodies move restlessly, merge, give life to new hybrid creatures and symbolic figures such as the double, the marionette and the androgyne and conjure up mythological references such as Narcissus and Lilith."
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THE INTENSITY OF DANCE: Body, Movement and Sensation across the Screen (extract) by Stamatia Portanova, Lecturer and PhD candidate at the University of East London (UK)
"(...) Today, dancing bodies coexist with all sorts of digital machines. Digital videodance is one of the many ways in which the digital screen is used as an active space of reciprocal transformation, through a fractal multiplication of dance and its dissolution into montage. Antonin De Bemels’ videochoreographic films Scrub Solo 1, 2, and 3 (Soloneliness, Disolocation and Soliloquy) and Il s’agit are among the most interesting examples of this form of audiovisual/choreographic collaboration. In these video elaborations, the dancing body is re-choreographed through montage and re-modeled with slow motions and accelerations. Video-dance becomes then a choreography of the choreography, repeating the energetic tension of dance and its corporeal dissolution into a schizo-rhythm (a rhythmic continuity infinitesimally cut, broken, dis-connected and re-connected) distributed across the multiple, simultaneous bodies appearing on (and in front) of the screen. In other words, the elaboration of rhythm by the biophysical, anatomical apparatuses of performers and viewers is directly connected to a technical system of electromagnetic capture, codification, and manipulation. In the digitalization process, the linearity of both the video and dance rhythm (one step/frame after another) implodes into a proliferation of microscopic mutations of the body/image. In this process, the digital recording and editing of Bud Blumenthal’s dance produces a multiplication of possibilities through the manipulation and combination of digital data. As an infinitesimal grid of data, the digital granulation and codification of electromagnetic matter constitutes a limited set of combinatorial possibilities that is nevertheless able to exercise an amplifying effect on the field conditions of perception and movement. By determining a multiplication of the possible combinations of images and sounds, the codified parameters of computer software can alter the perceptual conditions of the performance. The result is a transformation of the digital screen into a host of myriads of micro-physical invasive and unexpected vibrations, and into a porous active surface of perceptual alteration. (...)"

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