Bitef

In January 2000, Josef Nadj's Miniatures were exposed in Douai. These India ink drawings resemble little notes or sketches, almost an intimate personal diary. This exhibition was also shown later in 2000 at the Galerie du Lys in Paris as part of a collective exhibition, at the bookstore Les Temps Modernes in Orleans, at Châlon sur Saône and at Remscheid, then in 2002 at the Festival d'Avignon, Bruges and at the Parc de la Vi Nette, in 2003 at the Volcan-Scène Nationale of Le Havre, and in 2004attheTrident-Scène Nationale of Cherbourg, at the Mimos festival in Périgueux, at the Reggio Emilia in Italy and at the Carré Saint-Vincent-Scène Nationale of Orléans. CHOREOGRAPHIES 1987 premiere of his first piece Canard pékinois 1988 7 peaux de rhinocéros" 1989 La mort de l'empereur" 1990 Comedla templo 1992 Les échelles d'Orphée 1994 Woyzeck 1995 LlAnatomie du fauve 1996 Le cri du caméléon for the Centre National des Arts du Cirque [National Center for the Arts of the Circus] Les commentaires d'Habacuc, and the reworking of a new version of Woyzeck 1997 Le vent dans le sac 1999 within the context of "Le vif du sujet" at the Festival d'Avignon, Josef Nadj created a duet with Dominique Mercy, Petit psaume du matin Les veilleurs" and "Le temps du repli 2001 Les philosophes and Petit psaume du matin (second part) 2002 About Midnight 2002 Journal d'un inconnu 2003 II n'y a plus de firmament (commissioned by the theatre VidyLausanne E.T.E.) 2004 Poussière de soleils 2004 Eden 2005 Last Landscape VLADIMIRTARASOV Percussionist VladimirTarasov was born in 1947 at Archangelsk in Russia. Since 1968, he has lived and worked in Vilnius in Lithuania. For numerous years he has performed with the Lithuanian Symphony Orchestra and other chamber orchestras and jazz formations in Lithuania, Europe and the United States. From 1971 to 1986, VladimirTarasov was a member of the contemporary jazz trio GTC: Viatcheslav Ganelin, Vladimir Tarasov, Vladimir Chekasin. With this trio, as well as with other ensembles and in solo, he has released numerous recordings. Since 1991, he has worked with the visual arts, alone or in collaboration with other artists such as Ilya Kabakov. Participation in exhibitions: Dusseldorf (Kunsthalle) - 1991; Venice Biennial -1993; Centre Georges Pompidou - Paris -1995; Grand Palais - Paris - 2000; Contemporary Art Centre - DOM, Moscow - 2002;

Hermitage Museum - Saint-Pétersbourg - 2004... In 1998, he created the music, which was performed live, for Josef Nadj's work Le temps du repli. In 1999, Vladimir Tarasov directed Drink up (adapted from a poem by Venedikt Erofejev) and in 2002 Edwin Geist's opera le retour de Dionysos by the Russian Drama Theatre of Vilnius. VladimirTarasov has performed with musicians such as Andrew Cyrille and Anthony Braxton and Szabados Gyorgy. RÉMI NICOLAS (born in 1952) French lighting designer and scenographer "You might as well say that a finished and stable image clips the wings of the imagination" - Gaston Bachelard A passionate self-taught career has led Rémi Nicolas from the design and execution of lighting/scenography to the development of stage environments for theater, dance and music. Consistent collaborator of Dominique Bagouet (1976-1984), François Verret (1982-1993) and Josef Nadj (since 1990), he has also worked with Brigitte Lefèvre, Peter Goss, Suzan Linke, Régine Chopinot, Bernardo Montet, Joëlle Bouvier and Régis Obadia, among others. With Bagouet, his lighting became a necessary vector for understanding performances, even with his insistence on sober composition. For Nicolas the question is to marry space, matter and light. With Verret, he deepened his art, evolving towards a synthesis where the imagery is treated on all levels. Constantly exploring, he nourishes his work with painting, photography and the work of kinetic artists such as Nicolas Schöffer and Agarn. He doesn't light the dancers, he baths them in a particular space befitting to revealing the aura of the choreography. He uses counterpoint and relatively strong colors. The substance of his lighting is mobile and rhythmic. It filters in and resonates, cutting shadows that play with fantasy worlds: characteristics forming a luminous visual echo of Nadj's world. Beginning in 1971, Rémi Nicolas created the visual imagery for the group Le Spectaculaire Détergent and then for P. Vian, C. Couture, B. Lubat, Yumi Nara and Joëlle Léandre. He has also participated in the Rencontres Audiovisuelles of Chalon-sur-Saône, the Rencontres Internationales de la Photo at Arles, Visa pour l'image, and has designed scenography and lighting for Cartier. For the stage he has collaborated with Grand Magasin, P. Débauché, P. Adrien, P. Madral, and C. Hiegel (Comédie Française). He created Le faire à dissous in Châlon-sur-Saône; Le Miroir des Illusions in 1996 at the French Institue in Kyoto, Japan; and Le Labyrinthe vertical for Le Printemps de Cahors in 1998. He has also collaborated with Anne-Marie Pécheur, Joël Hubault, and P. Houillet. Twice recipient offellowships Villa Médlcis Hors les Murs [Villa Médicis Outside Its Walls], he was in residence in New York in 1980-81, and then in Republic of Georgia at the Gruzia film studio in Tbiisi. In