Echo Walk is a ballad through space, time and intimicy, in which the public shares the stories told by the performers.
A time when false memories are grafted to the real memories of a place at a specific time. Memories of strata, stories intertwine, not allowing the viewer to differentiate right from wrong, memory from imagination.
The walk allows a visit to the past, not in the sense of going back in time - which would imply a linear reading of time - but as a past which coexists with nowadays and who would let see, hear and live, as the first time. The performance is an attempt to make visible an alteration, as much as a historical memory than an individual memory and collective imagination.
Here, the questions that arise are: What is the boundary between memory and history? What is the time of this place?
Echo Walk sets the scene for time and reality to make us more appreciate their limitations, the notion that we have through the prism of a story that we can all share. Thus, the memory of a place or what we perceive is rebuilt.
This project has been realized with the support and collaboration of the World Stage Design Festival 2017 in Taipei, the Fljótstunga Residency in Iceland (spring, 2015), in the public spaces of Jardin des Plantes and the Centquatre space in Paris (2016).
PIELES project (meaning "skins" in Spanish) is a journey that invites us to approach and experience the landscape through the body. Sculptures come to life to integrate and interact with diverse horizons creating poetic and ephemeral dialogue. Precious moments where the body enters into a harmonious relationship with its environment. The sculpture thus associates the whole panorama as part of the skin of the landscape. The photographic captures try to reconnect and to recall this essential relation which is more and more distant in our minds. PIELES is a moment of reflexion of our current state about what we are.
The survival cover plays a revealing role for the project. A material that, beyond the aesthetic aspect it offers, reveals the obvious fragility and vulnerability of living beings as well as the natural riches of planet Earth.
Durind this year PIELES has been exhibited at the Maison de l'Amérique Latine of Strasbourg and Marseille and in Pol'n collective in Nantes. In 2016, the project was also presented in the cultural center A SEIS MANOS in Bogota, Colombia.
We want to create with ENTRE SURES various gestures from our perceptions but also from the experiences of others in each place. It’s an excuse to communicate stories, memories, sensations from local imaginary of the inhabitants. This is how we want to explore various territories both urban and rural, dig and uncover the invisible of each place.
Indeed, the challenges posed by globalization , we are immersed in a uniform system that has gradually affected our environment , our culture and the complexity of our identities. A phenomenon that attempts to eliminate cultural borders , economic , political and geographical and prevents us to connect daily with the outside world , with others, with ourselves .
We wish to focus the reflection on man's relationship with nature, with the environment and its roots. Bring man to question his behavior, its impact on the environment, how he lives and how he changes. We wish to restore the importance and richness of the territory, the physical map, its inhabitants, to make ENTRE SURES emotional and poetic memory of the world. A way to capture the essence of each place from observations, encounters, photographs, installations and interviews.
For this project, we favor the survival blankets. A material that is used for protection in emergencies (natural disasters, armed conflicts, people in the street). Especially in these times where survival is a constant reality, where access to natural resources is restricted, the right to land becomes a matter of conflict and power. The survival blanket and takes a political, social and environmental aspects in our project.
Moreover, this material gold and silver (to protect either cold or heat) allows us to play and experiment aesthetically with these characteristics. This is why we chose to name our project ENTRE SURES (in English Between Souths): The title questions the very notion of hierarchy between this country "northern" countries and the "South", introduced in our system of thought. We are always south of another country geographically but also politically and economically.
Ultimately, the idea is to build a diverse imaginary to create a landscape of multiple realities that characterizes us and defines us as human beings. For there to be a dialogue between man and his environment, man must begin by questioning his surroundings: his space but also other men who inhabit this space.
This project has been realized with the support and collaboration of MAM CHILOÉ (Castro, Chili), ZONA IMAGINARIA (Buenos Aires, Argentina), ALTO RESIDENCY (Alto Paraiso, Brazil) and SACHAQA CENTRO DE ARTE (San Roque de Cumbaza, Peru) during 2016.
LES AVENTURES DE SUPER MARTIN
Site specific walk performance.
Les Aventures de Super Martin (The Super Martin's Adventures) is an opportunity for citizens of fully embrace the environmental challenge not only our planet but also for our own future and our relationships with others.
"The essential question is: what should we turn? The environment to suit the man, or the man to fit the environment? Should we give the man artificial and sophisticated ways that will help him survive or adapt its organization to the survival conditions offered by the environment? " (Yona Friedman in The Architecture of Survival).
In this vision, we propose a walk in the city where the public is invited to follow Super Martin. The idea was born of our common imagination of childhood superheroes who save the world. Superman, Spiderman make the difference and still fighting the bad guys. We turn this super power image to humorously point the causes and consequences of our behavior on our environment. Our actions are directly responsible for the preservation or non-preservation of our ecosystem. For there to be a dialogue between man and his environment, man must begin to question his surroundings: his space but also other men who inhabit this space.
We play on the moment and the context that is offered to us and comes to us.
This project has been realized as part of the Global Climate Festival ArtCop21 2015 in Paris.
Our vision with this project is a to create a dialogue between man and Nature, an internal journey between two entities, by way of a conscious mapping, in order to make reappear, that which has been buried.
We wish to raise an awareness of the value of Life : to open oneself anew to the world in order to better reconnect with Nature, to open oneself to others and recognize one's own self. We wished to create a constructive space, an emotional and geographical memory of different places around the world. In fact, the equation 1,08321 ×10 12 km3 is the mathematic formula of the volume of Earth.
1,08321 ×10 12 km3 tries to establish a link between what earth brings us and how we perceive her.
Our memory mapping therefor represents a vision that we have of the place at different moments. This vision is based on the perception of the inhabitants. Thus we will find in this vision, the memories, stories of intimate spaces or non intimate spaces.
This cycle points out both the dreamed up spaces and those of daily life.
We wish to deconstruct that which is obvious, incite mindfulness through artistic gesture,and share a way of living in one territory, one space, together. To speak of the self and of others.
This project has been realized with the support and collaboration of Fljótstunga Residency in Iceland (spring, 2015)
Intervention in public and private spaces.
WHY NOT? is an experience between the viewer and the work. What relationship we maintain with a work? Do I have the right to touch her? How do I look at it? Can I take it with me?
WHY NOT? questions the relationship between people and the rules set by society and diverts the daily into a fun space. The balloons are installed in the public and private space : bench, wall, museum room etc. It becomes a playmate and a symbol of transgression of these rules, he gives permission. The surprise and the wonderful emerge from this ephemeral installation.
WHY NOT? has been realized in places sush as the Palais de Tokyo in Paris, in Deauville (France), Reykjavik and others.
MONNA evolves around a day in the life of the famous Monna Lisa by Leonardo da Vinci .
Her daily life is explored through small everyday gestures. Do her hair, makeup, putting her tights, pull on her dress or chewing gum are the pretexts for a suite of drawn movements, shortcuts to different rhythms, repeated and tested body.
Work on these daily actions is an exploration of the intimacy of this mysterious character. She is so famous that nobody knows her. Indeed, there is a sort of "prostitution". We are willing to pay to admire, to possess without wondering who she is, what is its history. The art takes and flows as a current consumer product. An unhealthy voyeurism caused by our modern society and mass tourism.