Simon Senn
Echelle Humaine - Be Arielle F
© © Elisa Larvego ©
Bodies are the vectors of this new edition of Échelle Humaine. Whether they be choreographed, directed, or imaginary, they occupy all the spaces of Lafayette Anticipations and invite us to observe what is beneath the surface of the world: our infatuations and our refusals, our hesitations and our affirmations, and our tenacity.
Simon Senn buys online the digital replica of a female body, once downloaded, he animates it with sensors, of those commonly found today: there it is "in" a woman's body, through his 3D glasses at least. The experience is disturbing. Who is this woman? Can he make this digital body do whatever he wants to and with it? Doesn't this virtual form open him up to a new sensuality? He manages to find the young woman whose body has been scanned, and begins a dialogue with her that continues today, questioning this third digital body that exists between the two of them. He also tries to dialogue with the salesman, with a lawyer, with a psychologist, to understand what he can legally make this body do, to question this disorder, to know if he is affected by the now attested "Snapchat dysmorphia", this psychic disease that makes people want to transform themselves to resemble their online image. Specialists are hesitating; it would seem that law and psychology are not moving as fast as reality. In a theatrical lecture that is also a demonstration and a confession, Simon Senn exposes how virtual and real are not opposed, and reveals the unexpected interplay between image, sensuality, technology, law, psychology and gender.
In the same place
Rabih Mroué Make Me Stop Smoking
Rabih Mroué's objective with his “non-academic conferences” is to subvert, via the perspective of performance, the principle of the conference. He does so by imitating the mechanisms at work within the conference format. He does not set out to make fun of the principle of the conference itself, but rather to exploit the power of the exercise as a form of public address. This is achieved by operating a shift of a voluntarily ambiguous nature, passing from presentation to representation and from reality to the imagination. The illusion it sets up is a disturbing one: the tone is neutral, the expertise seems well proven, and the documents supporting the speech suggest authenticity. This, of course, is precisely the aim of the whole mischievous, moving and intellectually stimulating operation.
Dalila Belaza Figures (version performative)
In Figures, Dalila Belaza looks into the possibility of a universal rite, by inventing an imaginary traditional dance "without origin or territory" that links the present to eternity. This force takes possession of the body, echoing a heritage that each of us carries with us, often unconsciously.
Rabih Mroué The Inhabitants of Images
Rabih Mroué's objective with his “non-academic conferences” is to subvert, via the perspective of performance, the principle of the conference. He does so by imitating the mechanisms at work within the conference format. He does not set out to make fun of the principle of the conference itself, but rather to exploit the power of the exercise as a form of public address. This is achieved by operating a shift of a voluntarily ambiguous nature, passing from presentation to representation and from reality to the imagination. The illusion it sets up is a disturbing one: the tone is neutral, the expertise seems well proven, and the documents supporting the speech suggest authenticity. This, of course, is precisely the aim of the whole mischievous, moving and intellectually stimulating operation.
Rabih Mroué Sand in the Eyes
Rabih Mroué's objective with his “non-academic conferences” is to subvert, via the perspective of performance, the principle of the conference. He does so by imitating the mechanisms at work within the conference format. He does not set out to make fun of the principle of the conference itself, but rather to exploit the power of the exercise as a form of public address. This is achieved by operating a shift of a voluntarily ambiguous nature, passing from presentation to representation and from reality to the imagination. The illusion it sets up is a disturbing one: the tone is neutral, the expertise seems well proven, and the documents supporting the speech suggest authenticity. This, of course, is precisely the aim of the whole mischievous, moving and intellectually stimulating operation.