Échelle Humaine Ivan Cheng

Clarities

Archive 2023
1/2

30min

English

Design and interpretation, Ivan Cheng
Cameraman, Arvo Leo
Costumes, Good and Bad (Marina M. Kolushova, Victor Stuhlmann, Ossi Lehtonen)

Production Lafayette Anticipations - Fondation Galeries Lafayette
With the support of Édouard Montassut

In a performance developed for the context of Échelle Humaine, Ivan Cheng presents a series of filmed monologues which intervene and reflect upon the technology and platforms.

Clarity. ‘Editing for clarity’ relates to an imagined audience. ‘Clarities’ suggests a desired multiple audience, or brings attention to how, for whom, and by whom editing is done. 

Pub auras, tournaments, television scale plots, faster food, holograms, class consciousness, intergenerational transmission and its wobbling movement on the retinas. 

With the support of Lafayette Anticipations - Fondation Galeries Lafayette and Édouard Montassut.


Clarities' performances at the Fondation are filmed: the filming of the audience is an integral part of the artist's performance. We invite those who do not wish to be filmed to make themselves known to the Lafayette Anticipations reception teams.

In the same place

Lafayette Anticipations – Fondation Galeries Lafayette
septembersept 20

Rabih Mroué
Make Me Stop Smoking

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.

Lafayette Anticipations – Fondation Galeries Lafayette
septembersept 21 – 22
Musée de l’Orangerie
octoberoct 14

Dalila Belaza
Figures (version performative)

Dance

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.

Lafayette Anticipations – Fondation Galeries Lafayette
septembersept 21

Rabih Mroué
The Inhabitants of Images

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.

Lafayette Anticipations – Fondation Galeries Lafayette
septembersept 22

Rabih Mroué
Sand in the Eyes

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.