Document sans nom

"The art always borrowed
from the knowledge new techniques to engender new codes,
new readings and take forward the thought."

PRESENTATION//

Of classic and contemporary formation, Catherine Langlade joins the Company Moebius managed by Quentin Rouillier having been a trainee in the CNDC of Angers supervised by Alwin Nikolaïs.

   Then co-founder of the group Lolita in 82, collective of artists whose about ten creations will widely be diffused in France and abroad. Interpreter also for the choreographers: Sarah Sugihara, Dominique Boivin and Philippe Découflé.

  Cie Spideka is created in 1990 under Catherine Langlade's artistic direction and will be the starting point of a research concerning the development of the contemporary dance in connection with the image on stage. She proposes scenic writings which integrate the image into the dance. The research articulates around the notion of partner image of the dancer from various devices set up for every show or installation. Fertile ground where the sensitive and the calculation interpenetrate, the reality crosses in the virtual: the image becomes for Catherine Langlade a real ground, a relational commitment between dance and image where the one closely has to feed on the other one for the realisation of the shows and the installations.  

 In narrow relation with artists video directors and computer graphic designers (Ghislaine Gohard, Marc Véron, Fulvia Nicolini, Pierre Barboni, Isabelle Levenez, Guillermo Ci-Fuentes, Sylvie Tissot, Catherine Nieky, Didier Bouchon, Vincent Lecoq), Catherine LANGLADE created for SPID' EKA:
- LE NINAS ET LE PAPILLON (90) 
- USTRANOTTE (91) 
- LA PORTE JAUNE OU LE CORPS REVELATEUR (92/93)
- CYBERNIES (94/95) 
- NUITS NOIRES,PETITES METAPHORES DANSÉES (96)
  - HOLOCOR ET FAITS DES CORPS (98/99) 
- TRYPTIC “ICI ET LA” (2000/2003) 
- VIENS DANSER- installation (2004)
- ALGO (2006)
- VOLUBILIS (2006)
- CORPS COMPLICES installations ( 2009-2010) 
- La CHAMBRE (Reprise )( 2011)

  Since a few years her work turned more particularly to the research and development of multimedia installations so inviting the public to discover the body in its diversity of movements and relations to the image. It is in the continuation of her approach that she explores the possibilities of the autonomous actors / dancers. This approach joins in the artistic movement of the « Living-art » and the basic research around the IHM (Interaction Man Machine) but also more classic works of computer graphics on the body.
- COME TO DANCE installation (2004)
- COLLUSIVE BODIES installations ( 2009-2010)
  - BODYF*LOWERS and BODYA*NIMALS exposure (2013)

SPID' EKA also participates in diverse works of raising awareness around the movement and around the image by:
- Animations / raising awarenesses
- Installations
- Danced conferences
- WORKSHOPS
Catherine Langlade teaches the Academy of Corbeil Essonne.

   Diffusions nationales et internationales :
- Digital Art Festival-Auckland (Nouvelle Zélande) 2013
- Nuit Blanche-Kosice (Slovaquie) 2012
- Illuminations-Fort de France (Martinique) 2012
- Bouillants#3-Rennes 2011
- Expo Digital Art-St Petersburg (Russie) 2011
- Vidéoformes 2010-Clermont Ferrand 2010
- Expo Universelle de Shanghai (Chine) 2010
- Fête des Lumières-Lyon 2009
- Audio-Art Festival-Cracovie (Pologne) 2008
- Festival Belef-Belgrade (Serbie) 2007
- Nuit Blanche de Shanghai (Chine) 2008
- FNAC Digitale-Paris 2006
- Festival de la Jeunesse et Multimédia - Inchéon et Séoul (Corée) 2006
- Centre Culturel Français de Constantine (Algérie) 2006
- Festival 1er Contact-LE CUBE-Issy-les-Moulineaux-2004
- Biennale d’Art Vidéo et Multimédia-Santiago (Chili) 2001
- Chemins Numériques-Reims 2003

Cie in Residence successive in Savigny-le-Temple ( 77 ) - St Michel-sur-Orge ( 91 ) - Clamart ( 92 ) - Issy-les Moulineaux ( 92 ). Cie is subsidised by the department of the Essonne.
Resident artist of the studio of creation of the CUBE in Issy-les-Moulineaux and member of Living-ArtLaB.

"" The choreographic research for the company Spideka is centred on the interactive
and perceptive relation of the body and the image."

PRINCIPlE of CREATION

From the beginnings, our civilization is about representations as they are answering to our questions and our imagination. Religious art is the best example.

Art has always borrowed new technics to lead new codes; Image and potentiality, inside the live performance, are linked to content and shape and so create mutations.

" Because if the structural principle of the live performance is good the multiple relation and the exchange between gathered human beings, when the technology of the simple or sophisticated images allows to transform, to modify this relation and perception between the artists and the spectator, she must be questioned. " B Picon Vallin

Image can be a proper partner for the creation, identified as actor or dancer. My work is staging images and choreography; I use new technologies and digital art in a chronologic way from the argentic to the numeric, working on the notion of a “virtual partnership”. I put on a performance all the image’s parameters (light, shot, stream, time) in the relationship with the dancer. I create a vocabulary, using the artificial intelligence, which is participating to the new era of the living art.

My two last artworks, “Come to dance” and “bodies Complicity” are answering to that notion through an generative and behavioral artwork. (CF DVD -Médiathèque du Centre National de la Danse -L’image en danse-Cie SPIDEKA ) In process-document resource 2014: Study for a virtual dancer.