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ÉTALON questions the notion of attempting.
An attempt reveals potentialities – something that isn’t yet present or something that could have occurred becomes visible. With ÉTALON, the process begins by capturing these first gestures on film, considering them as the starting point for the project. Failures, mistakes, coincidences inherent to research and experimentation are taken as such and brought to the foreground.
The performance space is framed and defined by a frontal relationship. Bodies and objects enter and exit this frame by crossing the space. They are present in passing, creating a motif. Although each passage has a goal of its own that is either paradoxical or absurd, all together they complexify what seems to be happening as a whole. It becomes clear that the performance space is a transitional space, presenting only a fragment of a larger story. The space outside the frame imposes itself and becomes the focus point for mental projections: each scene, image or situation that unfolds is understood in relationship to what is out of range. The bodies and objects that enter and exit, going across the frame of the performance space, create a context that exists only for the duration of each passage.
Passages can be re-defined as something that come across the project, standing in its way as an obstacle to its fulfillment.
ÉTALON is a measure and an animal.
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