César Vayssié spans across several artistic fields and explores the relationship between art and politics. He practices contemporary dance as a militant experience through films and performances that conceptualize the diversity of genres and artistic skills. He often works with student and young artists in order to explore their relationship with sentimental, artistic and political desire in a troubled society. He has collaborated with Philippe Quesne, François Chaignaud...He works with Boris Charmatz since his earliest plays. His works have been displayed in the Folkwang Museum (Essen), the Nanterre Amandiers Theatre, the MUCEM and Actoral in Marseille, the Paris FIAC, the Tate Modern and the ICA in London, the MoMI and MoMA in New York, the Tanzquartier and Impulstanz in Vienna, the Lausanne Cité Festival, the Belluard Festival in Fribourg et in numerous places dedicated to visual arts and live shows. He was featured artist in the Ménagerie de Verre in 2017, where he created such performances as COPROUDUCTION, EXEMPLE, PARTI(CIPA)TION. He leads workshops and mentoring programs (EnsAD-Paris, Moscow Film School, Bern University of Art (CH), University of Antioquia Medellin, ISDAT Toulouse...). His movie UFE(UNFILMEVENEMENT) won the Georges de Beauregard national award and the Audience award in the 2016 FID in Marseille. His last movie, NE TRAVAILLE PAS (Don’t Work) was awarded the FIPRESCI Award in the 2018 Viennale.
« In my work, I apply the empirical methods of live arts (contemporary dance, performance) to a renewed form of visual or performative creation. I observe the way bodies organize to become political entities, the relationship between the shape of a collective movement and its ideological body, where corporal experience and its iconic definition coincide. My works’ arguments find an autonomous form consistent with a recurring theme which could be summarized as follows: Starting over, but in what direction? I focus on the movement of bodies as a narrative and political phenomenon, the movement of pictures as a choreographic and anthropological phenomenon. This collusion between terms and motions is the essence of disparity in my projects, which offer a variety of moving shapes that aren’t meant to fit into any categories. »