Échelle Humaine Alix Boillot

Scénographie potentielle

Archive 2023
Lafayette Anticipations – Fondation Galeries Lafayette
septembersept 15 – 17

© Scénographie potentielle, Alix Boillot © Alix Boillot ©

20min

Concept and sculpture, Alix Boillot
Activations, Julien Lacroix

Coproduced by La Ménagerie de verre (Paris); Les Ateliers Médicis (Clichy-Montfermeil)
With the support of Théâtre Nanterre-Amandiers - CDN; kunstencentrum BUDA (Courtrai); Le SILO U1 (Château-Thierry)

 Alix Boillot's installation, activated on several occasions by performer Julien Lacroix, evolves according to the space in which it is installed, here on the 3rd floor of the Fondation.

The blue patatoid shape inhabits space and time, and is present in all eras, at all stages of life: it colours and permeates the landscape and atmosphere it inhabits, porous to the bodies, smells and lights it encounters. The installation invents itself according to the space in which it is installed.

The blue is not the same when it takes over the dark room of a theatre, the white of a gallery, the baroque of a church, an underground car park, an empty swimming pool, a luxuriant forest, a sports ground, or any other atypical place of representation.

Here, twenty-one specimens occupy the third floor of the Fondation, and welcome Julien Lacroix, accomplice and humble witness to their existence. Blue becomes a potential comrade, a bacterium, a papaya, a missile, an archipelago, a guitar, a meteorite and so on. It is also possible to see only abstract blue forms.

In the same place

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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.
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ConferenceTheatre Portrait

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.