At the Grütli, Go Go Go celebrates the start of the school year with three days of unusual and free shows

At the Grütli, Go Go Go celebrates the start of the school year with three days of unusual and free shows

It’s an explosion of insolent, unusual and free proposals that enliven the Rütli for three days, follow one another over a stepped program and attract a crowd of young spectators, quick to discuss. For the fourth time, Go Go Go is having a back-to-school party in January.

From Trickster-p – an established company from Ticino – to Clara Delorme, a UFO of the choreographic scene, each of the 16 invited projects will deploy its uniqueness from next Thursday to Sunday. “With Barbara Giongo, we are not bent on a particular aesthetic. Contemporary, classic, whatever. What we are looking for is personal, committed work that upsets certainties and broadens horizons,” says Nataly Sugnaux Hernandez, co-director of the premises since 2018. She details the treasures hidden in these three days of performances, theater and dance. .

Le Temps: You are organizing your fourth Go Go Go. What is special about this event?

Nataly Sugnaux Hernandez: Occupy and bring to life the entire Rütli building. We work with the adc, the Association for Contemporary Dance, which has studios upstairs, Function: Cinema, which is on the ground floor, as well as with the Music Library. The Orangerie, the space at the back of the building, downstairs, becomes a bar, with an outdoor tent to extend it. Finally, on the second floor, in the place called the terrace with plants and sofa, we welcome a long-term proposal.

What is it about?

We can see there Diane or the beginning of the finished worlda poetic short film by Filippo Filliger, or listen Pura Vida, a podcast by Carla Demierre that shows artists at work. We can also dive into the Library of unfinished projects by Céline Nidegger and Bastien Semenzato or savor the crazy text by Sébastien Grosset, Impossible landscapes. It is a hybrid space, of relaxation and discovery.

How to qualify the programming of Go Go Go?

These are shows adapted to the short time of the programming which are given twice during the three days. They are often strong, charged, irruptive and must remain light technically, with rapid assembly and disassembly, since they are often linked together on the same two stages. The guest artists are not emerging, they already have several works to their credit, but remain quite young in the profession. Two thirds are French-speaking, one third comes from France, Belgium and Italy.

A few appointments to inspire?

It’s obviously difficult to choose, because each approach affects us, but a show like AY! YAY! by the Basque artist Macarena Recuerda Shepherd fascinates. The dancer creates optical illusions by means of mirrors or removable walls and, with these bodies with several limbs or with distended limbs, she shows that our gaze deceives us. Our vision is not based on what our eyes see, but on what the brain interprets and reconfigures. His work, very playful, questions our cognitive biases.

“Funkenstein,” by Kidows Kim, looks just as spectacular…

With this solo, the French artist explores the monstrous, by embodying a gallery of fantastic creatures appearing on the margins of society. It is for him to deploy the variety of human possibilities and to shake up the notions of norms.

Do you claim committed programming?

Yes, but commitment can also be poetic. If we take a job like waiting room, by Antoine Weil and Julia Botelho, young artists from HEAD and the Manufacture, we are witnessing a series of movements for two, light and playful, which escape the notion of couple and confrontation. There is a real sweetness that emerges. What we find in Doe, by Marion Zurbach, with Géraldine Chollet. Marion started with a life story that recounts the brutal interruption of a ballet career, but above all the show allows the two dancers to develop a very beautiful choreographic language on the concept of support and care.

And then, the public of Go Go Go will also be able to participate…

Indeed, the Trickster-p company invites spectators to play with them at Eutopia, a board game that attempts to avert the end of the world by questioning old biological, ecological and anthropological models. Each game will be different and will depend on the 20 people called around the table.

What is striking in past editions of Go Go Go is the effervescence of the public and their desire to share what they have seen. An intention on your part?

Completely. We are very sensitive to the exchange, Barbara and I. That’s why all the shows are free – you just have to ask for countermarks on the ground floor, and that, in the right entrance of the building, we install a Stammtisch, or discussion table, for artists and spectators to meet. The effervescence is also linked to the fact that the shows follow one another. Seeing several things in the evening creates excitement, a sense of celebration.

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The exchange is also at the heart of your co-management, with the Companies Office, a singularity of the Rütli.

Indeed, every Monday, from 9 am to 6 pm, dancers, actors, musicians and visual artists can come to the permanent office of the Companies Office, in the foyer on the 2nd floor, and ask all the questions they want. On administration, budget, distribution, rehearsals, etc. Either we can answer, or we find the competent person to give the info, but we help as much as possible, and often the artists help each other. This tool, combined with the fact that we have reduced the number of annual shows (20 in 2023, including eight premieres, with two performance halls) to give more rehearsal time on set and more performances, marks our intention to better care for people. It’s difficult to choose the projects, because we receive between 300 and 400 proposals a year, but we want to take the time to provide good support to the artists.

Go Go Gofrom January 12 to 14, Rütli Building, Geneva

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