LŪMEN
Venues to perform, between Martinique and Sápmi.
None of them are stages.
The network
None of these are stages.
A drained swimming pool. A tree. A spit of sand where the water stays shallow a long way out. Venues where people perform, and that no technical rider has ever described.
No stage means no front, no wings, no fourth wall. The audience places itself rather than sitting down. The ground is uneven. The light is whatever the sky is doing.
LŪMEN documents them and connects them. Each venue is captured in three dimensions, recorded on site at the hour it is played, and written up in the terms that actually matter: what it is like to be there, what you hear, what gets in the way.
The axis
Martinique ↔ Sápmi
Four people hold this line. Two of them live under the Arctic Circle and two on a Caribbean island — and all four are residents of the same ground, 150 m d'altitude, at Le Vauclin.
Create, think, transmit.
Liv Aira is a Sámi dancer and choreographer from Jokkmokk. She makes work out of animal imagery and inhabited movement, founded the Låvda festival, and keeps the house for dance at Vuollerim.
Jimmy Lundegård came out of international business to produce that house. He paints portraits the size of a wall, some of them with Liv, and works at making the invisible visible.
E.sy Kennenga is a Martinican songwriter who calls himself a Solda Lanmou. He has toured for twenty-five years without ever handing himself to anyone, and he is the permanent resident at Le Vauclin — the one who makes a tour between the two ends something you can live, and not only draw.
Georges-Emmanuel Arnaud is a photographer and a sculptor, and directs ANISOTROPIE at Le Vauclin. He works on the body and the territory, and calls himself a passeur rather than an organiser.
Eight thousand kilometres between the two ends, and fifty-two degrees of latitude. LŪMEN is the line they were already standing on.
The premise
A practice is what
makes a venue.
Not a building. Bring the work, and the ground you brought it to becomes a place where art is shown. That is the whole of it, and it is why a drained pool and a house for dance belong to the same network.
We do not have the same ambition at the two ends of this line. We have the same objective: to make our own rurality live — our culture, our spaces.
How it works
- We do
- Document venues, keep the map, put a venue and a company in touch, leave the captures with the venue.
- We don't
- Sell dates, programme, employ. The venue and the company agree directly.
- It costs
- Nothing, either side.
What gets recorded
Not a rider.
A survey you can do from far away.
The sound
Nothing is added.
Nothing is cleaned.
Each venue is recorded on site, at the hour it is played — not when it is convenient. The wind, the road, the river, the birds: that is what a voice will have to carry over.
A tidied recording tells you nothing you could act on. So the time, the tide and the wind are printed next to every file, and the file is left as it came.
Two lights
Amber and blue.
Light behaves differently at 14° north and at 66°. One place has a short dusk and a sun straight overhead; the other has a dusk that lasts for hours, and months without one at all. Every venue in this network carries its own light, and the site carries it too.
Credits
An original idea by
Jimmy Lundegård
Georges-Emmanuel Arnaud
Held by
ANISOTROPIE — Le Vauclin, Martinique
In partnership with
Jillat, Samisk Danscenter — Vuollerim, Sápmi
With the support of
Institut Français — PIDA 2026
DAC Martinique