2019. 03. 24-25
2019. 03. 24-25
Sidestepped: a dance for selective amnesia
Sidestepped: a dance for selective amnesia
Masami Yurabe, Inagaki Miwako & Oliver Coates
Masami Yurabe, Inagaki Miwako & Oliver Coates
2025. 05. 01
This is not a Programme
Man Drake X Lotus Edde-Khoury X Jean Luc Guionnet
LA DERNIERE NOUVELLE VAGUE
The Latest Vague news
Man Drake
Lotus Eddé Khouri
Jean Luc Guionnet
Ceci N’est Pas Un Programme
This Is Not A Programme
1 May 2025 / 1900 / the Fringe Club
5月1日 \ 1900 \ 藝穗會賽馬會劇場
2 hours ago – Latest report just came in announcing that a special arm of French forces will be performing in HK this May. It is anticipated that these entities will deploy unusual strategies à la française with the intent to causing upset to the stale état des lieux in the Hong Kong art scene.
FROM UNCONFIRMED SOURCES, it was said that choreographer Tomeo Vergés, who launched his dance company Man Drake in 1992, with Sandrine Maisonneuve and Alvaro Morell, creating a sort of fractured live tableaux with contaminated movements and physical stuttering, where bodies seemed to engaged in an prolonged system failure. The alienated bodies fight within themselves in an absurd and grotesque attempt to escape, as soon as humanly possible, agitated by hysterical syncope movements and jolts reaching a nauseous climax, trapped in an infernal Möbius strip.
ANONYMOUS BACK CHANNEL reveals that Lotus Eddé Khouri, accused of being a dancer and guilty of choreography, and Jean Luc Guionnet, indicted for making musical compositions and was caught using instruments in the past, have been committing serious oeuvres artistiques since 2012. This duo appears to be entangled with such Einstein-Rosen Bridge phenomenon just as Man Drake’s self-imposed (meta)physical struggles on and off stage; an exertion of endurance, as much as absorption into silence and immobility. Their hyper-interaction can be likened to a visible and audible flux, creating both an insurrection and a civil war all at the same time.
FULL BLOWN PENDING
They will be flying in blind. No reconnaissance has been attempted on HK’s artogeography, they don't have any visual reference of one another, nor do they share the same syntax. This squad consists of four terpsichoreans and an instrumentalist, whose mission is to establish a rapport in a common enclave with tactics yet to be discovered; exposing their ground with frontal strikes or engaging in fragile and fluctuating alliances. The line of resistance will be drawn through physical and sonic movements in this collective experiment, as much as autonomous logics being put into friction.
This is Not a Programme
Man Drake X Lotus Eddé Khouri X Jean Luc Guionnet
01 May 2025, 7pm
The Jockey Club Studio Theatre, Fringe Club
Ticketing | Eventbrite
2小時前 - 我們接獲最新消息，有指法國特種表演部隊將於今年5月來港執行任務，預計會採取不尋常策略à la française ，意圖擾亂香港藝術界的état des lieux 。
據初步了解，編舞家 Tomeo Verges於 1992 年與 Sandrine Maisonneuve和 Alvaro Morell創立了舞蹈公司 Man Drake，並創造出一種身體長期陷入系統故障不斷LAG機狀態的表演形式，就像困在地獄般的莫比烏斯帶中，以一連串歇斯底里支離破碎近乎暈厥的猛烈顛簸達到令人作嘔的高潮。
另有匿名人士透露， 自 2012 年以來一直從事oeuvres artistiques活動的舞者兼編舞家Lotus Eddé Khouri與音樂家Jean Luc Guiionnet雙人組合更於5月夥拍Man Drake，迎來兩個平行宇宙的首次交流。是次超級互動即將掀起一場震撼舞蹈界的強勁旋風。
全面爆發
前所未見的放膽實驗！沒有任何對香港的藝術地理學進行偵察，彼此之間沒有任何視覺參考，也沒有相同語言。這支小隊由四名舞者和一名色士風演奏家組成，嘗試於今次任務中打破他們以往的創作模式，共同合作用聲音和肢體語言重新演繹他們的故事。
Nota Bene: This has nothing to do with the French May in HK.
注意：是次表演並不是香港法國五月節目。
4 Stints in 1 Night
QUE DU BONHEUR (?)
(All Happiness (?))
概念 Conception: Tomeo Vergés
演繹 Interpretation: Sandrine Maisonneuve
服裝 Costume : Laurence Caine
隨著催眠節拍器的節奏，在一條地板條內，一名女子正在進行一系列悸動的動作和重複的姿勢，在完美女人和祖先戰士的陳詞濫調和怪誕形象之間遊走。陷入似乎永無止境的漩渦中，她進行了一場來回的正面戰鬥，直到精疲力竭，直到這成為她解放的勝利。
獨奏《Que du Bonheur（？）》是三聯舞的一部分，探索了身體運動和重複的分解，並帶有實驗電影視覺語言的元素。
Set to the rhythm of a hypnotic metronome and within a floor strip, a woman is engaged in a series of throbbing movements and repetitive postures, navigating between clichés and grotesque images of a perfect woman and an ancestral warrior. Caught in a spiral that seems interminable, she leads a frontal battle literally back and forth until exhaustion, which becomes her liberating victory.
The solo Que du Bonheur (?) is part of a Triptych exploring the decomposition of body’s movements and repetition tinted with elements of experimental cinema’s visual language.
M Ultitudes
概念 Conception: Tomeo Vergés
演繹 Interpretation: Alvaro Morell
……轉身，轉向自己，轉圈，轉錯方向，在虛空中拐彎抹角，翻頁發瘋，轉身……反過來，阿爾瓦羅·莫雷爾拒絕構成我們的多個方面，拒絕到眩暈的程度，他摘下面具，去審視男性和女性之外的另一種比我們更深層的本性
「我名叫『軍團』，因為我們眾多。」馬可福音 5:9
...turn turn on yourself turn with going in circles wrong turn beat around around the bush in the void turn the page going nuts take a turn .... in turn Alvaro Morell declines to the point of vertigo the multiple facets that he is composed of and that compose us he drops the masks to examine beyond the masculine and the feminine another nature deeper than ours
« My name is legion; for we are many »
Mark 5:9
CE QUI DURE DANS CE QUI DURE (What Last in What is Lasting)
概念及演繹 Conception & Interpretation:
Lotus Eddé Khouri & Jean Luc Guionnet
Ce Qui Dure Dans Ce Qui Dure：兩個人並肩而立，一個跳舞，另一個吹色士風。多年來，我們一直在製造原材料，每次都會重新成型。這種材料是一種常見的持續時間，一種存在於當下的方式，一種當我們就位時立即啟動的連續體。它不是被給予的，也不是我們找到的，而是我們自己創造的。因此，我們從兩種狀態的對立開始：ON 和 OFF。 ON是舞蹈和音樂的共同演進，至於OFF，它是距離任何活動最遠的點，遠遠超越了沉默或靜止......或者超越了這些！ OFF與ON是兩個完整的動作。 OFF 揭示了沒有我們參與而發生的連續過程：就好像我們看著它過去一樣。 ON 由耐心、努力和體力消耗、聯合重複、對或多或少最近的過去的回憶、驚喜和決定組成。這些決定，例如影響或相互交織的行動，既取決於具體情況（顏色、建築、觀眾、背景噪音…），也取決於我們彼此之間採取的暴力或相互攻擊。我們為自己製造問題；耐心、姿勢、疲勞的問題：音樂和舞蹈共同成為解決方案，建築是現場建造的，出於對耐力的挑戰和對空虛的需求，但也是為了虛無……，透過我們汗水的共同作用或任意的浪漫結局。
Ce Qui Dure Dans Ce Qui Dure: two bodies side by side, one dances, the other plays the saxophone. Over the years, we have manufactured our raw material, the one that we re-form every time. This material is a common duration, a way of being in the present, a continuum that kick starts as soon as we are in position. It was not given to us, we did not find it, we have made it. We thereby started from the opposition between two states: ON & OFF. The ON is dance and music evolving together, as for the OFF, it is point most remote from any activities, far beyond silence or immobility ... or beyond that! OFF and ON are two whole actions. The OFF lays bare the continuum that then takes place without us: as if we would watch it pass by. The ON is made of patience, of effort and physical excess, of joint repetitions, of reminiscences of a more or less immediate past, of surprises and decisions. These decisions, such as impacts or intertwined actions, depend both on the situation — colours, architecture, spectators, background noise, … — and upon the violence or mutual entraide that we deploy towards each other. We create problems for ourselves; problems of patience, of posture, of fatigue: music and dance together become the solution, architectures are built live, out of a challenge of endurance and the need for emptiness, but also for nothing…, through the concurrence of our sweats or the arbitrary romantic endings.
DEMOCRAZY
概念及演繹 Conception & interpretation:
Tomeo Vergés, Sandrine Maisonneuve, Alvaro Morell, Lotus Eddé Khouri and Jean Luc Guionnet
音樂 Live music : Jean Luc Guionnet
香港首演 HK première
ABOUT ARTISTs
Cie Man Drake
X
Tomeo Vergés
自 1992 年成立以來，MAN DRAKE 就紮根於舞蹈和戲劇相互交叉且相互污染的領域。他的表演深受超現實主義美學的影響，將我們帶入一個沒有故事的世界。他用大量的通用符號來設定戲劇性的場景，從而以一種無需言語的動能來激發我們的想像力。他以跳躍、飛騰、斷裂和掃視等詞彙，加上和舞者之間的高度配合，創造了最令人震撼的膽大妄為和意想不到的雞毛蒜皮。他以非常拉丁式的生命力，去反對幽默與嚴肅、溫柔與暴力。
Since its inception in 1992, the MAN DRAKE Company has been rooted in a territory where dance and theatre intersect and contaminate each other in a constant state of friction. If some of Tomeo Vergés’ pieces have a very theatrical character, the core lies in the omnipotence of the body itself. Recounting the man struggling with the absurdity of the world has always been the centre of attention, deprived of realism. Acquainted with the Surrealist aesthetics, his performances transport us to a universe where there is no stories per se. He sets up dramatic situations with his profusion of universal symbols to better tear them down and hence trigger our imagination with a kinetic power, without words. His vocabulary of jumps, leaps, ruptures and saccades creates the emergence of the most ruffling audacities and unexpected “cock and donkey”, enabled by virtue of a great collusion between the dancers. With a very Latin life force, he opposes humour and gravity, tenderness and violence.
This work also finds expression in the company's educational programs and awareness events, expending workshops’ outcomes to performances, film screenings or conferences.
Tomeo Vergés, 編舞家 choreographer
從一名高水平游泳運動員到一名熱帶醫學專家，再到接受古典和爵士舞訓練，托梅奧·維爾熱斯從小就對身體的表現及其脆弱性十分感興趣。 從巴塞隆納出發，他前往埃及、印度和尼泊爾，然後於 1980 年移居巴黎，在那裡他遇到了瑪吉·馬蘭（世界著名的法國編舞家），並與她一起在如今著名的《五月 B》中扮演貝克特式的代表人物。他的表演生涯豐富多彩，與多位編舞家合作，例如：瑪麗-克里斯蒂娜·喬治烏、雷吉娜·肖比諾、安妮-瑪麗·雷諾、卡羅琳·馬卡德、查爾斯·克雷-安熱和弗朗索瓦·韋雷。
1992 年，托梅奧·維爾熱斯 (Tomeo Vergés) 創立了自己的舞蹈公司 MAN DRAKE，並在里昂舞蹈雙年展上展示了他的第一部作品《雞皮疙瘩》。隨後，還將有十幾部作品在法國和國外巡迴演出。繼他的三聯畫《Anatomia Publica》（2012 年）、《Troubles du Rythme》（2014 年）和《Syndrome Amnésique avec Fabulations》（2015 年）之後，Tomeo Vergés 圍繞運動的分解創作了《PRIMAL》，並於 2018 年巴黎首演。同時，Tomeo Vergés 與 Sophie Loucachevsky 和 Jean Jourdheuil 等多位導演合作進軍戲劇領域；以及讓-弗朗索瓦·佩雷、米歇爾·多伊奇和伯努瓦·布拉德爾。 自 2011 年以來，他定期與舞台導演 Didier Ruiz 合作，尤其是青少年節目（巴黎、阿維尼翁和巴塞隆納）。他的教學實踐透過在法國和國外舉辦的研討會蓬勃發展；僅舉幾例：加拿大、埃及、西班牙、土耳其、捷克共和國。
From being a high-level swimmer to becoming a tropical medicine expert, before undertaking classical and jazz dance training, Tomeo Vergés has been, since a young age, absorbed by the body’s performances as well as its vulnerability. From Barcelona, he travels to Egypt, India and Nepal before moving to Paris in 1980, where he meets Maguy Marin with whom he becomes a Beckettian character in the now famous May B. His career as a performer is rich in collaborations with choreographers such as: Marie-Christine Georghiu, Régine Chopinot, Anne-Marie Reynaud, Caroline Marcadé, Charles Cré-Ange and François Verret. He also works at Carolyn Carlson Company where he meets Catarina Sagna with whom he signs his first duet. He continues his career as a choreographer with two soli Heropas and Kronos y Kromos.
In 1992, Tomeo Vergés created his company, MAN DRAKE and presents his first piece Goosebumps at the Lyon Dance Biennale. This will be followed by a dozen pieces that will tour in France and abroad. After his triptych: Anatomia Publica (2012), Troubles du Rythme (2014) Syndrome Amnésique avec Fabulations (2015), revolving around the movements’ decomposition, Tomeo Vergés' creates PRIMAL, premiered in 2018 at L’Atelier de Paris/CDCN. He then put in place "Performances & Cie", a whole series of off-stage performances with professionals and amateurs, infiltrating our ordinary environment where the body reinvents fresh perspectives and poetics; at the heart of which is the fundamental nature of reality and being of our selves. Simultaneously, Tomeo Vergés makes forays into the theatre with Sophie Loucachevsky and Jean Jourdheuil; and Jean-François Peyret, Michel Deutsch and Benoît Bradel. Since 2011, he regularly collaborates with the stage director Didier Ruiz, in particular for teenagers’s programme (Paris, Avignon and Barcelona). His pedagogical practice flourishes via workshops held both in France and abroad; Canada, Egypt, Spain, Turkey, Czech Republic, to cite a few.
Alvaro
Morell
阿爾瓦羅·莫雷爾的表演生涯始於 1983 年在巴塞隆納現代芭蕾舞團，之後他透過與法國和其他地方的眾多舞蹈團分享經驗繼續他的編舞軌跡，其中包括：安妮·德雷福斯、帕科·德西納、安傑林·普雷約卡、埃爾韋·羅貝、基茨蘇·杜布亞、讓莉絲特·梅丹、莉莉·梅雷瓦......
1992 年，他與編舞家托梅奧·維爾熱斯 (Tomeo Verges) 再次會面，目前他與托梅奧·維爾熱斯合作，更具戲劇性的影響使他能夠在這個方向上進行其他嘗試，特別是與讓·茹爾德赫伊 (Jean Jourdheuil)、讓·弗朗索瓦·佩雷 (Jeançzy Pretey) 和弗朗伊索瓦·伊索瓦·伊索瓦·伊索瓦·伊索瓦·伊索瓦·伊索瓦·伊索瓦·伊索瓦·伊索瓦·佩雷 (Jean Jour)、米歇爾·佩雷 (Jean Coupat) 合作。
Alvaro Morell’s career as a performer began in 1983 with the Contemporary Ballet of Barcelona, and continuing his choreographic trajectory by sharing experiences with numerous dance companies in France and elsewhere, notably: Anne Dreyfus, Paco Decina, Angelin Preljocaj, Herve Robbe, Kitsou Dubois, Jean Gaudin, Lilia Mestres, among others. A new meeting took place in 1992 with the choreographer Tomeo Verges, with whom he currently works, with a more theatrical influence allowing him to make other forays in this direction, particularly with: Jean Jourdheuil and Jean François Peyret, Michel Deutch and Françoise Coupat.
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為了提高對身體的理解，他接受了不同的身體方法的訓練：費登奎斯技術、身心中心技術、蘇珊·克萊因技術，特別是與克斯蒂·西姆森的接觸舞，他曾與她一起進行即興表演（意大利、西班牙、美國）。 Alvaro 也擁有豐富的藝術教學經驗：曾在巴黎彼得高斯學校任教；巴黎國家舞蹈中心；與普雷略卡芭蕾舞團合作；與 Emmanuel Gat 公司合作。此外，他還在法國藝術治療學府INECAT擔任治療領域的教練；在表達研究中心接受藝術治療培訓；在巴黎工作室 (CDCN)，透過創新和文化計畫幫助編舞界。阿爾瓦羅擁有當代舞蹈國家文憑（Diplôme d’état (D.E) en danse contemporaine -1993）以及巴黎第五大學藝術治療大學文憑，巴黎笛卡爾（舞蹈專業）（Diplôme Universitaire en Art-thérapie (spécialise danse) délivré par Paris Vélivré -20, Paris11）。
He is currently participating in various projects with Tomeo Verges' Man Drake company. In order to improve body understanding and bring more depth to his knowledge, he has been trained with different body approaches: Feldenkrais Technique, Body Mind Centering, Susan Klein Technique and in particular contact dance with Kirstie Simson with whom he has performed in improvisation (Italy, Spain, USA). Alvaro has also an extensive artistic teaching experience: at the Peter Goss School, Paris; at the Centre National de la Danse, Paris; with the Ballet Preljocaj; with the Emmanuel Gat Company. In addition, he coaches in the therapeutic field at the National Institute of Expression, Art Creation and Transformation (INECAT); at the Center for the study of expression, training in art therapy; at L' Atelier de Paris (CDCN), helping the choreographic community through innovative and cultural projects. Alvaro holds a State Diploma in Contemporary Dance (Diplôme d’état (D.E) en danse contemporaine -1993) as well as an University Diploma in Art Therapy at Paris-V, Paris Descartes (dance specialisation) (Diplôme Universitaire en Art-thérapie (spécialisation danse) délivré par Paris V, Paris-Descartes -2011).
Sandrine
Maisonneuve
畢業於里昂國立高等音樂舞蹈學院(1992年)，獲得舞蹈教育國家文憑(2009 年)和心理學學士學位(2021 年)。Sandrine Maisonneuve 曾與多位編舞家和公司合作：Maryse Delente、Denis Plassard、Yann Lheureux、Emmanuel Grivet、Olivier Dubois、Christian Ubl、Christophe Haleb、Mohamed Shaffik、Yann Lheureux、Abou Lagraa、Christophe Haleb、Mohamed Shaffik、Yann Lheureux、Abou Lagraa、Christophe Haleb、Mohamed Shaffik、Yann Lheureux、Abou Lagraa、Chris Grotiane、Andy Deti Grotiane等。自2005年起，Tomeo Vergés建立了長期合作夥伴關係，演出包括《Body Time》、《Idiotas》、《Meutres d’Intérieur》。
她也參加了由 Mohamed Shafik 和 Laurence Rondoni 在特拉維夫舉辦的法國-阿拉伯-以色列巡迴計畫（2005-2009 年），並擔任 Studio Emad Eddin 舞蹈計畫（埃及開羅）的客座講師。她對「現實寫作」、哲學和社會學充滿熱情，一直在開發個人項目，例如與鋼琴家 Myrissa Lai 合作的 Solo pour Deux（1998 年）、LE JE TU（2002 年），隨後進行了台灣巡迴演出。她為里昂 CNSMD 的 Jeune Ballet 創作了一部作品（2009 年），並與歐盟委員會支持的埃及舞者合作創作了一部作品（2011 年）。塞納-聖但尼國際編舞大賽（2014）。
Sandrine Maisonneuve has collaborated with several choreographers and companies: Maryse Delente, Denis Plassard, Yann Lheureux, Emmanuel Grivet, Olivier Dubois, Christian Ubl, Christophe Haleb, Mohamed Shaffik, Yann Lheureux, Abou Lagraa, Christiane Blaise, Andy De Groat, and Toméo Verges, with whom she has a long term partnership since 2005 with numerous performances including Body Time, Idiotas, Meutres d’Intérieur. She also participated in a touring Franco-Arab-Israeli project by Mohamed Shafik and Laurence Rondoni in Tel Aviv (2005-2009) and has been guest lecturer at the Studio Emad Eddin Dance Program (Cairo, Egypt) where she taught instantaneous composition. Impassioned with the ‘écritures du réel’, philosophy and sociology, she has been developing personal projects such as Solo pour Deux in collaboration with pianist Myrissa Lai (1998), LE JE TU (2002) followed by a Taiwanese tour. She created a piece for the Jeune Ballet at the CNSMD in Lyon (2009) as well as a piece with Egyptian dancers supported by the European Commission (2011). Her solo ‘Echo Est un Corps Plastique’ was the outcome of an artist residency programme with the Rencontres Chorégraphiques Internationales de Seine-Saint-Denis (2014). Sandrine created hybrid site specific forms under territorial projects for the Factory/Cnarep in Toulouse (2014/16) and with the CDCN Brick Factory in Val-de-Marne (2017/19), in which she delves into family movement, the intimate and the inheritance.
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她目前正在領導一個項目，與舞蹈廣場 (CDCN) 各行各業的人士（無論是業餘還是半專業人士）一起探討女性的條件反射和解放觀念。她的計畫將教學法和千變萬化的創作結合在一起，將實踐作為她所倡導的美學體驗和個人發展的工具。
She is currently leading a project questioning the notion of conditioning and emancipation for women, with people from all walks of life -be they amateur or semi-professional at the Place de la Danse -CDCN. Her projects combine pedagogy and protean creation, giving a focal point to the practice that she defends as an aesthetic experience and as a tool for personal development. Sandrine Maisonneuve graduated from the National Superior Conservatory of Music and Dance in Lyon (1992) with a State Diploma for Dance education (2009) and a bachelor's degree in psychology (2021).
Lotus
Eddé Khouri
Lotus Eddé Khouri 創作舞蹈作品：從獨舞到大型團體舞、舞台或特定場地表演以及影片。她喜歡將舞蹈簡化為最簡單的器械，並與音樂、視覺藝術、燈光、繪畫和寫作等其他實踐交織在一起。這些舞蹈編排的共同點是時間的延長和動作的重複，為變化和轉變提供了無限的動力。她熱衷於將舞蹈帶入不同的時空情境，例如《裸體的緩慢》（2016-21），這是一部公共空間的參與式遊行，以及《內心的舞蹈》（2016-23），這是一系列在人們家中進行的獨舞表演，最近在展覽和書籍出版中展出。
Lotus Eddé Khouri creates dance works: from solos to larger group pieces, stage or site-specific performances as well as videos. She likes to downsize dance to its simplest apparatus, interlaced with other practices such as music, visual arts, lighting, drawing and writing. The common denominator of these choreographies is the dilatation of time and the repetition of movement providing an illimitable drive for variation and transformation. She is interested in bringing dance into various situations of time and space as in Slowness of the Nudes (2016-21), a participatory cortege for public spaces, and Inside Dances (2016-23), a collection of solo performances conducted in people's house and recently showcased in an exhibition and book publicatio
與兩位重要藝術家的合作標誌著她對音樂和視覺藝術世界的濃厚興趣，這體現在她與作曲家 Jean-Luc Guionnet（《Volatil Lambda》，2012 年；《What Last in What Last》，2015 年；《Reciprocal Scores》，2016 年）以及雕塑家兼舞蹈家 Christophe MacStré 的中，後者與她共同創立了，後者與舞者兼舞者。她同樣熱衷於使用非慣用方法來記錄舞蹈符號，並在舞者 Claudio Ioanna 的樂譜《Affixe》（2015 年）中進行了研究。她與即興音樂界的密切關係也促使她為瑞士 Gamut 音樂家集體創作了兩部音樂和表演作品《7 Lines》（2019 年）和《2 Rocks》（2023 年）。
https://www.lotuseddekhouri.com/
Two momentous artists’ partnerships mark her vivid interest for the world of music and visual arts as experienced in both her collaborations with the composer Jean-Luc Guionnet (Volatil Lambda, 2012; What Last in What Last, 2015; Reciprocal Scores, 2016) and the sculptor and dancer Christophe Macé with whom she has founded the Structure-Couple Company. She is equally engrossed in dance notation using non-idiomatic methods investigated in the score Affixe for dancer Claudio Ioanna (2015). Her close relationship with the improvised music scene has also led her to compose two musical and performative pieces for the Gamut Musicians' collective in Switzerland, 7 Lines (2019) and 2 Rocks (2023).
https://www.lotuseddekhouri.com/
Jean-Luc
Guionnet
Jean Luc Guionnet的作品分為多種形式，他可以根據不同的場合用聲音和繪畫進行思考和行動。這些場合與外界元素有著密切的聯繫：一件樂器（薩克斯風）、一個理論問題（「謠言」是什麼？），尤其是合作夥伴（Franck Gourdien、Lotus Eddé Khouri……Seijiro Murayama）......接下來是一系列主題，這些主題反過來又影響了作品的演變，並定義了未來相遇的方向：空氣的厚度、洋涇浜語、被視為情感自動機的樂器、黑暗中的聆聽、聽覺的代數、聲音作為空間的標誌、物體的標誌、不是的標誌......事實上，法語使用同一個詞——le temps——在時間和天氣中的形式蔓延。我所尋找的情感是由所有這些層面以及一個層面到另一個層面的滑動所構成的。
Jean Luc Guionnet’s work is divided into as many ways as occasions arising for him to think and act with sound and drawings. These occasions have a strong connection with an outside element: an instrument (saxophone), a theoretical question (what is "rumour"?), and especially collaborating friends (Franck Gourdien, Lotus Eddé Khouri … Seijiro Murayama) ... There then follows a collection of themes which, in turn, influences the evolution of the work and defines the direction of encounters to come: the thickness of the air, the pidgin, the musical instrument considered as affective automaton, listening dark unto itself, the algebra of and in hearing, sound as a signature of space, signature of objects, signature of what it is not... the fact that French uses the same word – le temps – for time and weather, propagation and spread of forms in time, etc. The emotion I look for is made out of all these strata and the sliding of one onto the other.
Jean Luc Guionnet在巴黎第一大學索邦大學學習藝術和視覺藝術哲學，師從著名藝術家和思想家：伊安尼斯·澤納基斯 (Iannis Xenakis)、米歇爾·茹尼亞克 (Michel Journiac)、安德烈·阿爾穆羅 (André Almuro)、米歇爾·瓦倫丁 (Éric Valentin)、讓·米歇爾·帕爾姆麥 (Jeansta-Michel) 隨後，他開始致力於音樂和聲音藝術，創作了聲音裝置（“反射波”、“石頭、空氣、公理：fèn te ko ro, nka kow bè ro kolo ntè”）、電聲作曲和磁帶音樂（“非有機偏見”、“停止旋轉”）、舞台表演音樂（與 Lotus Epé Khouris 的“音樂人”：舞台表演音樂。 Dites」）和音樂即興創作（管風琴獨奏、薩克斯風獨奏、「Hubbub」、「Ames Room」）。他也曾受邀參加法國國家廣播電台（法國文化 - ACR）的多個有關聲音的節目。他的作品廣泛出版於世界各地的唱片公司，例如：「Ground Fault」、「Potlatch」、「Empty Editions」、「Hibari」等等。除了聲音活動外，他還透過繪畫進行視覺藝術實踐，並透過一系列關於形而上學、聲音和藝術的著作進行理論工作——在講座中分享（Transmedial、格拉斯哥大學、EHESS 等）。
Jean-Luc Guionnet studied Philosophy of Art and Visual Arts at the Sorbonne (Paris I) with eminent artists and thinkers: Iannis Xenakis, Michel Journiac, André Almuro, Éric Valentin, Jean-Michel Palmier, Côme Mosta-Heirt. He then got committed to music and sound art through sound installations ("Reflected Waves", "Stones, Air, Axioms : fèn te ko ro, nka kow bè ro kolo ntè"), electroacoustic compositions and tape music ("Non Organic Bias", "Tournures Cessent"), music for stage performances ("Ce qui dure dans ce qui dure" with Lotus Eddé Khouri), instrumental compositions ("Distances Ouïes Dites") and musical improvisations (organ solos, sax solos, "Hubbub", "Ames Room"). He also has been invited to take part in several programmes about sound and listening for the French National Radio (France Culture - ACR). His works are widely published on record labels all over the world such as: "Ground Fault", "Potlatch", "Empty Editions", "Hibari", to cite a few. Along with his sonic activity, he pursues his visual art practice through drawing, as well as his theoretical work through a series of writings about metaphysics, sound and art -shared in lectures (Transmedial, Glasgow University, EHESS, etc.).