{"id":4662,"date":"2000-10-26T18:09:00","date_gmt":"2000-10-26T16:09:00","guid":{"rendered":"https:\/\/blog.uclm.es\/archivoartea\/?p=4662"},"modified":"2026-04-06T15:44:40","modified_gmt":"2026-04-06T13:44:40","slug":"xavier-le-roy","status":"publish","type":"post","link":"https:\/\/blog.uclm.es\/archivoartea\/2000\/10\/26\/xavier-le-roy\/","title":{"rendered":"Xavier Le Roy"},"content":{"rendered":"\n<h4 class=\"wp-block-heading\"><a href=\"https:\/\/blog.uclm.es\/archivoartea\/1998\/09\/29\/jerome-bel\/\" data-type=\"post\" data-id=\"3306\">J\u00e9r\u00f4me Bel<\/a>. 2000<\/h4>\n\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"682\" height=\"557\" src=\"https:\/\/blog.uclm.es\/archivoartea\/wp-content\/uploads\/sites\/323\/2025\/12\/JeromeBel.2000.Xavier-le-roy-foto-Katrin-Schoof-4.jpeg\" alt=\"\" class=\"wp-image-4659\" srcset=\"https:\/\/blog.uclm.es\/archivoartea\/wp-content\/uploads\/sites\/323\/2025\/12\/JeromeBel.2000.Xavier-le-roy-foto-Katrin-Schoof-4.jpeg 682w, https:\/\/blog.uclm.es\/archivoartea\/wp-content\/uploads\/sites\/323\/2025\/12\/JeromeBel.2000.Xavier-le-roy-foto-Katrin-Schoof-4-300x245.jpeg 300w\" sizes=\"auto, (max-width: 682px) 100vw, 682px\" \/><\/figure>\n\n\n\n<ul class=\"wp-block-list\">\n<li>A performance by J\u00e9r\u00f4me Bel<\/li>\n\n\n\n<li>Conception: Xavier Le Roy<\/li>\n\n\n\n<li>Music: Bernard Herrmann<\/li>\n\n\n\n<li>Thanks to: Silke Becker, J\u00e9r\u00f4me Bel, Katrin Busching, Rebecca Lee, Pascale Paoli, Petra Roggel, Fr\u00e9d\u00e9ric Seguette, Maximilian Stelz, Nobert Strache, Tino Sehgal, Claudia Triozzi<\/li>\n\n\n\n<li>Duration: 40 minutes<\/li>\n\n\n\n<li>Coproduction:Time Festival (Gent) and TanzWerkstatt\/Podewil (Berlin)<\/li>\n\n\n\n<li>This project is subsidied by: the Direction R\u00e9gionale des Affaires Culturelles d\u2019Ile de France-Minist\u00e8re de la Culture et de la Communication (Paris), AFAA (Association Fran\u00e7aise d\u2019Action Artistique\u2014Minist\u00e8res des Affaires Etrang\u00e8res) (Paris) and Senatsverwaltung f\u00fcr Wissenschaft, Forschung und Kultur (Berlin)<\/li>\n\n\n\n<li>Thanks to:Laboratoires d\u2019Aubervilliers<\/li>\n<\/ul>\n\n\n\n<p><em>Le dernier spectacle<\/em>, in 1998, was supposed to have marked his farewell to the world of dance after just three personal creations. It was meant to have been his last piece, but no such doing. Yet how is one to continue, when one has chosen to pull out, programmatically speaking, as the theme of the show, which ended up leaving the choreography to the spectator?<br>The French choreographer J\u00e9r\u00f4me Bel\u2019s piece consisted of a four-fold repetition of the overture sequence from Susanne Linke\u2019s solo Wandlungen. For the fifth reprise, he had the dancer disappear behind a black curtain, letting the audience complete the choreography by drawing on their memory. Nevertheless, J\u00e9r\u00f4me Bel came up with a device to keep on going. He asked his colleague Xavier Le Roy to develop a choreography in his vein and with his dancers, which he then signed, the way an artist signs a painting. The choreography is called Xavier Le Roy \u2014 the name of the artist who has been appropriated, and who has carried out another\u2019s concept. But it is J\u00e9r\u00f4me Bel who claims authorship.<br>J\u00e9r\u00f4me Bel\u2019s pieces always involve an ironic play upon the notion of author. In his works, the author is no longer an autonomous creator, constantly making art out of nothing, a myth that keeps clinging to French dance milieus, after the creative explosion of the 80\u2019s. With a nod at Roland Barthes\u2019 semiotics, the name J\u00e9r\u00f4me Bel \u2014 the author\u2019s signature which became the title of the second piece \u2014 serves as a discursive field, in which different codes, stemming from all conceivable cultural domains, get intertwined. The author\u2019s name thus turns into an empty form, spread like a second body around the choreographer\u2019s biological body. With its particular stamp, J\u00e9r\u00f4me Bel is a choreographic body that other artists can connect to, such as Xavier le Roy, in order to spark off a production that stands fiercely opposed to modernist demands that movement be original and singular.<br>In their works, Bel and Le Roy are deliberately linked to 60\u2019s minimalist art. They thus claim for dance something that had found its way into fine arts at least since Marcel Duchamp, Andy Warhol\u2019s \u00abFactory\u00bb, as well as the works of Sol LeWitt, Charles Ross, and Robert Morris: a work\u2019s concept taking priority over its implementation and uniqueness. The radical choreographic experiments of the 60\u2019s, precisely developed in collaboration with visual artists, are again a springboard in an altered social environment: as dancer or choreographer, whose material is the body in its beauty, strategies are bred that oppose our mass culture of beautiful bodies and of media\u2019s flood of images.(\u2026)<br><\/p>\n\n\n\n<p>Gerald Siegmund<\/p>\n\n\n\n<p>Frankfurter Allgemeine Zeitung. 12.2.2001. <a href=\"http:\/\/Extra\u00eddo de: http:\/\/www.xavierleroy.com\/page.php?sp=54e59ecc36602be4e50bbc961458fc724e63011a&amp;lg=en\" target=\"_blank\" rel=\"noreferrer noopener\">Ver original<\/a>.<\/p>\n\n\n\n<p><\/p>\n\n\n\n<figure class=\"wp-block-gallery has-nested-images columns-default is-cropped wp-block-gallery-1 is-layout-flex wp-block-gallery-is-layout-flex\">\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"700\" height=\"525\" data-id=\"4663\" src=\"https:\/\/blog.uclm.es\/archivoartea\/wp-content\/uploads\/sites\/323\/2025\/12\/JeromeBel.2000.Xavier-le-roy-foto-Katrin-Schoof-1.jpeg\" alt=\"\" class=\"wp-image-4663\" srcset=\"https:\/\/blog.uclm.es\/archivoartea\/wp-content\/uploads\/sites\/323\/2025\/12\/JeromeBel.2000.Xavier-le-roy-foto-Katrin-Schoof-1.jpeg 700w, https:\/\/blog.uclm.es\/archivoartea\/wp-content\/uploads\/sites\/323\/2025\/12\/JeromeBel.2000.Xavier-le-roy-foto-Katrin-Schoof-1-300x225.jpeg 300w\" sizes=\"auto, (max-width: 700px) 100vw, 700px\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"700\" height=\"525\" data-id=\"4664\" src=\"https:\/\/blog.uclm.es\/archivoartea\/wp-content\/uploads\/sites\/323\/2025\/12\/JeromeBel.2000.Xavier-le-roy-foto-Katrin-Schoof-2.jpeg\" alt=\"\" class=\"wp-image-4664\" srcset=\"https:\/\/blog.uclm.es\/archivoartea\/wp-content\/uploads\/sites\/323\/2025\/12\/JeromeBel.2000.Xavier-le-roy-foto-Katrin-Schoof-2.jpeg 700w, https:\/\/blog.uclm.es\/archivoartea\/wp-content\/uploads\/sites\/323\/2025\/12\/JeromeBel.2000.Xavier-le-roy-foto-Katrin-Schoof-2-300x225.jpeg 300w\" sizes=\"auto, (max-width: 700px) 100vw, 700px\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"700\" height=\"525\" data-id=\"4665\" src=\"https:\/\/blog.uclm.es\/archivoartea\/wp-content\/uploads\/sites\/323\/2025\/12\/JeromeBel.2000.Xavier-le-roy-foto-Katrin-Schoof-3.jpeg\" alt=\"\" class=\"wp-image-4665\" srcset=\"https:\/\/blog.uclm.es\/archivoartea\/wp-content\/uploads\/sites\/323\/2025\/12\/JeromeBel.2000.Xavier-le-roy-foto-Katrin-Schoof-3.jpeg 700w, https:\/\/blog.uclm.es\/archivoartea\/wp-content\/uploads\/sites\/323\/2025\/12\/JeromeBel.2000.Xavier-le-roy-foto-Katrin-Schoof-3-300x225.jpeg 300w\" sizes=\"auto, (max-width: 700px) 100vw, 700px\" \/><\/figure>\n<\/figure>\n\n\n\n<div class=\"wp-block-buttons is-content-justification-center is-layout-flex wp-container-core-buttons-is-layout-a89b3969 wp-block-buttons-is-layout-flex\">\n<div class=\"wp-block-button\"><a class=\"wp-block-button__link wp-element-button\" href=\"https:\/\/youtu.be\/T1tFILZd15o\" target=\"_blank\" rel=\"noreferrer noopener\">V\u00eddeo \u00abAbout Xavier Leroy\u00bb (10 min.)<\/a><\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>J\u00e9r\u00f4me Bel. 2000<\/p>\n","protected":false},"author":285,"featured_media":4659,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[28],"tags":[545,339],"class_list":["post-4662","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-obra","tag-desviaciones","tag-nueva-danza"],"_links":{"self":[{"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/posts\/4662","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/users\/285"}],"replies":[{"embeddable":true,"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/comments?post=4662"}],"version-history":[{"count":3,"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/posts\/4662\/revisions"}],"predecessor-version":[{"id":10376,"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/posts\/4662\/revisions\/10376"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/media\/4659"}],"wp:attachment":[{"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/media?parent=4662"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/categories?post=4662"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/tags?post=4662"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}