27 - 28 SEPTEMBER 2025, MUSÉE DES BEAUX ARTS DE LYON (BIENNALE DE LYON 2025)
3 - 5 OCTOBER 2025, MUSÉE D'ART MODERNE DE PARIS (FESTIVAL D'AUTOMNE 2025)
Tânia Carvalho | Not everything is visible, not everything is audible

1 DECEMBER 2025
CENTQUATRE-PARIS
FESTIVAL D'AUTOMNE 2025
Marlene Monteiro Freitas, Israel Galván | RI TE

For its 2025 edition, the Festival d'Automne, in partnership with the Delegation in France of the Calouste Gulbenkian Foundation, presents a multidisciplinary and international programme (theatre, dance, music, visual arts, performance, film) unfolding across more than 60 partner venues in the Île-de-France region, with artists from over 30 countries, particularly Portuguese-speaking ones.

Tânia Carvalho | Not everything is visible, not everything is audible

Tânia Carvalho brings the legacy of Pierre Boulez to life in a work that sits at the crossroads of disciplines. Accompanied by around forty dance and music students from the Conservatoires nationaux supérieurs de musique et de danse of Lyon and Paris, she transforms the Musée des Beaux Arts de Lyon and the Musée d'Art Moderne de Paris into a living stage, where the works enter into dialogue with bodies and sounds.

Music is heard in a new way, dance becomes palpable, and heritage comes alive in a plural, poetic and vibrant work. With her sensibility as a choreographer, but also as a musician and visual artist, Tânia Carvalho orchestrates a rare encounter between young talent and musical complexity, for a sensory and contemporary tribute.

Marlene Monteiro Freitas, Israel Galván | RI TE

The meeting of Marlene Monteiro Freitas and Israel Galván is an obvious, if belated, one. Between the Cape Verdean choreographer and the Sevillian bailaor, an invisible thread seems to run, bringing them together for an unprecedented project. Face to face, they develop a new and immediate form of communication: a moment of pure joy and humour, an animated conversation built solely on the language of the body.

For Israel Galván, his flamenco novo profoundly shakes up the frameworks of representation. From La Metamorphosis to Arena or Lo Real, he works to deconstruct genres. Of flamenco, and beyond that, of gesture itself. The choreographer and director Marlene Monteiro Freitas, a devotee of metamorphosis, is at her best in the register of the unknown. The two artists also share a distinct musicality. RI TE will unfold as a succession of back-and-forths, frictions and seductions. Their shared language will be that of the body. This RI TE is already the promise of a ritual, like a rite of spring — a dance that says it all.

https://gulbenkian.pt/paris/