{"id":8561,"date":"2013-10-10T16:14:00","date_gmt":"2013-10-10T16:14:00","guid":{"rendered":"http:\/\/a-desk.org\/2013\/10\/10\/cedric-andrieux-learning-to-expose\/"},"modified":"2013-10-10T16:14:00","modified_gmt":"2013-10-10T16:14:00","slug":"cedric-andrieux-learning-to-expose","status":"publish","type":"post","link":"https:\/\/a-desk.org\/en\/magazine\/cedric-andrieux-learning-to-expose\/","title":{"rendered":"C\u00e9dric Andrieux: learning to expose oneself"},"content":{"rendered":"

Hello. My name is Sonia Fern\u00e1ndez Pan (I\u2019d like to point out that the second surname has always been important to me, I suppose because it underlines some kind of difference rather than the commonality of the first and also introduces the fundamental, maternal component of the second). I was born in 1981, I\u2019m 32 years old and I\u2019m single. I\u2019m an art critic and independent (?) curator. Sometimes I find it hard to assume professional labels, above all if they aren\u2019t legitimated by a contract of employment. My interest in contemporary art came relatively late, more or less around 2000, thanks to one of the few professors at the University of Santiago de Compostela who, as well as imparting his programme of studies, was capable of transmitting his passion for contemporary art, something unheard of in an appreciably anachronistic university context. I wanted to specialize in Ancient Egypt and Greece, until Janis Kounellis with his horses, Gina Pane with her wounds and Marina Abramovic with her initial violence appeared to demonstrate, in less than an hour, that art could be something else. At that time I wanted to be a university lecturer, an aspiration that disappeared years later during my doctoral studies, which I abandoned due to a progressive lack of faith in the academic world and its hypocritical handling of knowledge. This left me stranded and pessimistic for several years, not knowing what \u201cI wanted to be when I grew up\u201d. With the inconvenience of being too old to not yet know, coupled with the latent failure to fulfil one\u2019s own and others\u2019 expectations. Potential success is after all also potential failure. <\/em><\/p>\n

The previous paragraph is an endeavour to reproduce the beginning of C\u00e9dric Andrieux<\/em> by the choreographer J\u00e9r\u00f4me Bel (at the Mercat de les Flors last 4 & 5 October), a solo piece that takes as its title the dancer who stars in it. It\u2019s preceded by Veronique Doisneau<\/em>, an equivalent piece where the dancer lends her name to the piece. But Veronique, unlike C\u00e9dric, transits through more of a personal history of dance than through a vital experience associated with dance. A possible future exercise would be the reason behind this subtle difference between the male and female dancers. <\/p>\n