How can we reconnect with choreographic abstraction, not by mastering it or faithfully imitating it, but by immersing ourselves in it using our modern tools – sensitive, mutable bodies – in order to explore, through the constraints of boredom, repetition and learning, new forms of presence and play? As a cross between affect, pedagogy and abstraction, Fusty explores how the rigid frameworks of institutional education, the abstract gestures we have inherited from postmodern dance, and the emotional intensity of dark aesthetics (doom, metal, goth) shape our inner states and our bodies. By re-examining these choreographic elements through the lens of boredom, repetition and indeterminacy, Garance Debert and Max Ricat ask what it means to learn, feel and move within a codified system – between extreme seriousness and latent absurdity.

At BUDA, they are launching the second phase of FUSTY’s research.

Max Ricat (FR/BE) & Garance Debert (FR/BE)

Max Ricat and Garance Debert met while studying at the Cndc in Angers, where they spent a great deal of time performing Cunningham classes, like the robotic training of a virtuoso dancer of the void. Since then, they have contued to collaborate, first at the Cndc on Garance’s Mathématiques Capillaires (2018), Max’s Middle Age (2019) and their four-handed signature pice UFTO (2019). In Brussels, Max continues to perform with Garance, as in Mime = Mème in 2022 and Apparemment à Louer in 2023.