On Sunday I saw a preview of Confidences, a performance created by Sandy Flinto and Pierrick Grobéty. The Rumour in Orléans and the autobiography of the main actress, Zuzana Kakalikova, serve as the basis of this dance, theatre, video and music performance. What is The Rumour in Orléans? It’s a rumour that emerged in 1969 in Orléans (France), where apparently in lingerie shops, female customers were abducted and then forced into prostitution. I have interviewed the artists, Sandy and Pierrick, about their creation but first, let me introduce them.
Who are Sandy Flinto and Pierrick Grobéty?
Sandy Flinto is a visual artist, born in 1983 in Luxembourg. In 2004, she moved to Italy, where she graduated in plastic arts, before continuing her artistic research in 2012 by undergoing theatre training at the Laboratoire de théâtre physique (LFPT) in Paris. With a strong education and relations in the artistic environment, Sandy successfully follows her own path between visual and performing arts, which brought about a meeting between her and Pierrick Grobéty who stages his acoustic environment. Their leitmotiv is experimentation including all different types of artistic expression. As a team they realize numerous projects including installation, video, performances, theatre and contemporary dance to combine the visual environment with the acoustic dimension. Depending on the circumstances, she adapts techniques, sizes and means of expression, by using sculpture, video, installation or performance art. These days, Sandy travels between Luxembourg, France and Switzerland.
Pierrick Grobéty was born in 1983 in Switzerland where he took drum courses and learnt by himself how to compose, conduct and to perform music and sound. Since 2011, he has been collaborating with the Cie T-d’U for the play ÔKÔ. He created with Kelzang Ravach the musical documentary TREE FEET and worked with Melting Pol on the project Making of (re)visited at the Casino (LU). With his co-worker Sandy Flinto, they have been realizing several multidisciplinary projects since 2012. His work is based on sound research of instruments that he has created himself. He aims at harmonizing the different musical mediums and by managing the sound, he adapts it to the given contexts. He draws his inspriation from the collaboration with artists from other backgrounds.
Your latest performance, Confidences, reunites you with actors that you have previously worked with. What was the creative process behind this project and what vision are you sharing with the audience?
The piece mixes The Rumour in Orléans with the autobiography of the actress Zuzana Kakalikova. The first approach of the project was a sociological and psychological analysis of the rumour and their necessity. By including the autobiography, a lot of information had to be studied. We developed the project for about one year and a half. We consider it as a work in progress, in which we experiment with artistic expressions, by changing the stage, integrating new mediums and analyzing the audience’s reaction. We chose the actors for their curriculums and their extraordinary skills, and their aesthetics. Together we share with them a taste for experimentation and our artistic vision. One of the recurring questions these days is the role of the spectator. Our work started way before but by researching means of expression, aesthetics, we set the frame with key readings, in order to give possible directions to understand. In this manner, we stimulate the audience to come up with multiple and personal interpretations, with an individual and critical mindset.
From time to time you present your work in Luxembourg, where Sandy is originally from. How do you see the current art scene?
We love the Luxembourg art scene. It is modern and constantly tries to evolve. In certain countries the letting go of the past cultural heritage is more difficult and despite the integration of a contemporary aesthetic, the basis is not always very innovative. Economics rule culture and a lot of money can be made with relics, therefore investments into the new can be seen as risky. In Luxembourg, however, investments are made into innovation and contemporary cultural research. For the past years, the latter has exponentially developed and it continues to grow. Luxembourg is buzzing with young creators that compete at an international level. We believe that the Luxembourg cultural scene goes hand in hand with an evolving modern society. The public is curious and open to new proposals.
1 October 2015 Schungfabrik in Tétange (Lux)
7 October 2015 Abbaye de Neumünster (Lux)
19 and 20 mai 2016 Théâtre Le Périscope in Nîmes (France)