Mnémosyne to express the memory of a world: the world of the choreographer and visual artist Josef Nadj.

Thirty years after the creation of his first performance, he produces a global piece, both photographic project and theatrical performance. Artistic turning point or return to the roots?

For Mnémosyne, Josef Nadj has conceived a large photographic exhibition and a black box in which he stages himself - acting, dancing, performing - in a close distance with his audience.

Each one of the pictures displayed around the box tells a story, to be viewed as individual shows hung in space. Each image contains a unique memory, known only to the artist - there are found objects kept because of their suggestive power, pieces of art that keep inspiring him and all kinds of souvenirs.

Understanding dance above all as a site for encounter – this is how Josef Nadj defines his work. Beyond his role as choreographer the man is in fact an artist without borders and without barriers.
Dancer, but also visual artist and photographer, his vision of humanity is poetic and passionate.
Constantly in search of new forms. Ceaselessly willing to explore humanity as close as possible to human truth. Across his career, from Canard pékinois (1987) to Mnémosyne (2018), Josef Nadj has relentlessly pursued exigent and passionate choreography where gravity and compassion take turns, where depth and humour alternate. Whether he is visiting atypical authors (Beckett, Kafka, Michaux) or bringing painting along on stage with him (in performance with Miquel Barceló), Josef Nadj flourishes in complete corporal freedom.
Oscillating between reality and fantasy, tradition and modernity, he explores the essential: man's relationship with himself. Because for Nadj, dance is fundamentally a humanist act.
Over the years, the works of Josef Nadj have become references in contemporary dance.