Marie-Caroline Hominal
Marie-Caroline Hominal lives and works in Geneva.
She received her dance education at the ZHDK TanzAkademie in Zurich and at the Rambert School of Ballet and Contemporary Dance in London, where she joined the National Youth Dance Company.
Thereafter, she worked among others with TanzTheater Basel, Gisèle Vienne, Gilles Jobin, La Ribot and Marco Berrettini (with whom she co-choreographed Ifeel2).
Her personal research begins in 2002 around video work, then shifts more decisively towards choreography from 2008 with the solo Fly Girl. In this solo, the dancer oscillates between representations of sexuality and violence in a game of provocations that undermines and multiplies identities.
Her artistic practice includes text, drawing, dance, video, sculptures, radio. Close to the field of performance, her works have been presented since 2008 in theaters, museums, art galleries as well as in more atypical places, such as a hotel bedroom, dressing room of theaters, semi-trailer truck, construction site, in all Europe, China, North and South America.
In 2017, she began research on the notion of authorship where the established collaboration protocol is the object of the work as much as the form; she invited the theater director and video artist Markus Öhrn for the first piece Hominal / Öhrn (2018), then the performing artist and choreographer Nelisiwe Xaba for Hominal / Xaba (2019), and the visual artist David Hominal for Hominal / Hominal (2023).
Sugar Dance, created in 2020, follows the choreographic pieces Ballet #1 (2014), Ballet #2 (2017), Ballet #3 (2019), Parad/isiaque (2019) and Le Cirque Astéroïde (2020), which explore behind the scene, the dynamics of entertainment and theatrical artifices.
In 2021 she created « Eurêka, c’est presque le titre » commissioned by the museum Tinguely and which has toured intensively in European museums. Marie-Caroline Hominal is today one of the major figures of the contemporary choreographic scene in Switzerland.
In 2019 she was awarded “Outstanding Female Dancer” by the Swiss Dance Awards / Federal Cultural Office.
Furthermore, she is often invited to give workshops in art school (ECAL-Lausanne, HSLU-Luzern, Hochschule der Künste Bern, HEAD – Geneva).
Thereafter, she worked among others with TanzTheater Basel, Gisèle Vienne, Gilles Jobin, La Ribot and Marco Berrettini (with whom she co-choreographed Ifeel2).
Her personal research begins in 2002 around video work, then shifts more decisively towards choreography from 2008 with the solo Fly Girl. In this solo, the dancer oscillates between representations of sexuality and violence in a game of provocations that undermines and multiplies identities.
Her artistic practice includes text, drawing, dance, video, sculptures, radio. Close to the field of performance, her works have been presented since 2008 in theaters, museums, art galleries as well as in more atypical places, such as a hotel bedroom, dressing room of theaters, semi-trailer truck, construction site, in all Europe, China, North and South America.
In 2017, she began research on the notion of authorship where the established collaboration protocol is the object of the work as much as the form; she invited the theater director and video artist Markus Öhrn for the first piece Hominal / Öhrn (2018), then the performing artist and choreographer Nelisiwe Xaba for Hominal / Xaba (2019), and the visual artist David Hominal for Hominal / Hominal (2023).
Sugar Dance, created in 2020, follows the choreographic pieces Ballet #1 (2014), Ballet #2 (2017), Ballet #3 (2019), Parad/isiaque (2019) and Le Cirque Astéroïde (2020), which explore behind the scene, the dynamics of entertainment and theatrical artifices.
In 2021 she created « Eurêka, c’est presque le titre » commissioned by the museum Tinguely and which has toured intensively in European museums. Marie-Caroline Hominal is today one of the major figures of the contemporary choreographic scene in Switzerland.
In 2019 she was awarded “Outstanding Female Dancer” by the Swiss Dance Awards / Federal Cultural Office.
Furthermore, she is often invited to give workshops in art school (ECAL-Lausanne, HSLU-Luzern, Hochschule der Künste Bern, HEAD – Geneva).
