In a vast and empty space, leaving the spectator to suppose that the space is either abandoned or in the beginning of construction, two performers parade militarily, cross their trajectories, wait for each other, and agree to enter into a dance where the perception of their nature becomes subject but also limits.
Dealing with the theme of man and his condition, the two bodies exploit a myriad of narratives and anecdotally refer to the great figurative images of relationships between men whether they are friendly, familial, physical, imaginative or even absent.
Through our colonizing and patriarchal heritage, the figure of power and conquest is in.consciously associated with men, supported by feelings of rivalry, envy, control, submission, domination, mastery, and pressure.
The theme of the interaction in the relation man-man is treated here in this research by the imbrication and the interstices of the bodies as illustration of the ambivalences proper to the relations between individuals.
The imagery of the bodies is constructed and destroyed as they go along, transforming the spatial organization of their dance into a narrative framework facing an almost religious silence where only the echoes of their bodily exchanges and the external noises of the street give rhythm to the musicality of their dance.
CREDITS AND MENTIONS
CONCEPT - PERFORMER/
ROBINSON CASSARINO HE.HIM , ALBAN OVANESSIAN HE.HIM/THEY.THEM.
DURATION OF THE WORK/
P.A.R.T.S, DECORATELIER/DAMAGED GOODS.
OUTS IDE GAZES/
MAUREEN BATOR SHE.HER, REBECKA BERCHTOLD SHE.HER, HELENA OLMEO DUYNSLAEGER SHE.HER, NEAL MAXWELL HE.HIM, JEAN BAPTISTE PORTIER HE.HIM, MAMADOU WAGUE HE.HIM.