The Architecture of a Partnership: From Barking to Brilliance

The bond between Chemin and Wilson was forged long before the professional accolades. In a surreal testament to Wilson’s eccentricity, the two used to communicate through barking—a non-verbal exchange that began when Chemin was an infant.

This playfulness was more than a quirk; it was a tool for “escaping rationality.” Throughout their careers, this non-verbal shorthand—including the power of constructive silence and shared glances—became a cornerstone of their co-direction process.

Chemin’s immersion in the arts was inevitable. Born into a household of actors, directors, and designers, he was exposed to groundbreaking art early on, visiting museums and theaters globally instead of watching television.

By age 10, he was already working at the Watermill Center, an experience he credits to his parents’ free-spirited nature and their willingness to let him navigate high-pressure professional environments as a child.

Defining the ‘Frame’: The Power of Unconventional Spaces

Chemin has spent his career exploring how the physical environment—the “frame”—alters the perception of a work. From staging an opera in Cuba’s unfinished National Art Schools to working with the Museum of Modern Art’s conceptual spirit, he views space as a primary character.

At the Watermill Center, he views the facility not as a theater, but as a laboratory. It is a place where artists can create works that would be impossible in conventional, well-funded institutions.

This commitment to institutional depth mirrors recent trends in the art world, such as how EXPO CHICAGO is betting on renewed institutional depth to sustain its curatorial vision.

Navigating the Shadow of a Giant

The challenge of succession became tangible during the production of Seven Solitudes at the National Kaunas Drama Theatre in Lithuania. The piece was started by Wilson, who knew his time was limited, treating the initial sketches as an artistic testament.

Chemin faced a delicate balance: honoring Wilson’s poetic definition of space and time while avoiding a “pale copy” of the master’s style. He achieved this by introducing personal “counterpoints,” creating a hybrid work that functioned as a dialogue between two generations.

This process of reinterpretation is a recurring theme in modern art curation, similar to the efforts of curators who want to reintroduce the world to Keith Haring through a contemporary lens.

Their relationship reached a peak of irony and trust in Krapp’s Last Tape, where Chemin directed Wilson. In a cycle of generational mirroring, Chemin played the younger version of Wilson in rehearsals, only to eventually direct the elder on stage.

The Future of the International Summer Program

Since 2020, Chemin has led the International Summer Program, a residency that gathers roughly 30 artists from diverse backgrounds each July and August. He describes the role as a “curation of possibilities.”

By fostering links across cultures and disciplines, Chemin ensures that the center remains an engine of renewal. This openness to diverse, sometimes feral, creative energies is reminiscent of the romantic and feral world of Sébastien Tellier.

Whether it is supporting artists who, like Arch Hades, shift from verse to visuals, or analyzing the evolving rules of the Asian art market, the Watermill Center under Chemin remains dedicated to the fringe and the future.

Frequently Asked Questions

Who is the new Watermill Center Artistic Director?

Charles Chemin, a longtime collaborator and protégé of Robert Wilson, has been named the new artistic director.

How does the Watermill Center Artistic Director maintain the founder’s legacy?

By balancing Robert Wilson’s unique vision with a spirit of openness and introducing personal artistic counterpoints to ensure growth.

What makes the Watermill Center unique compared to conventional theaters?

It functions as a laboratory where the “frame” or environment is integral to the work, allowing for experiments that conventional spaces cannot accommodate.

What is the goal of the International Summer Program?

To curate possibilities by bringing together a diverse group of artists to create original, cross-disciplinary collaborations.

How did Charles Chemin handle the direction of “Seven Solitudes”?

He treated the production as an artistic dialogue beyond death, honoring Wilson’s sketches while asserting his own direction to avoid mere imitation.