During these two years she has activated and created two devices for one single spectator - Walk, Hands, Eyes A city and How can one know in such darkness ; and she has deepened her research into new forms of attention.
Wishing to associate different artistic practices that broach related questions, she opened her reflection to others and came up with La Piscine. The experience is to be placed at the crossroads between a health treatment and an aesthetic encounter. A singular itinerary will be proposed to each spectator through the following means: a silent, eyes closed walk in and out of the pool, an audio guide in and out of the water, political therapies which aim to link the mental and the corporal space.
During the five days, the duets will meet randomly, entering in resonance and weaving invisible connections. The chosen practices were all conceived as Β« attention devices Β» for one spectator and one performer at a time; they all question the conditions and the effects of an experience for two; they all generate a singular perceptive process, activated outside of the usual context of representation the stage or the exhibition space.
Though heterogeneous, the different practices will nourish one another inside the space of the Leclerc public swimming pool, mixing in the liquid environment to the point of dilution, leaving the artist as transformed as the spectator. As an alchemical laboratory, constituted at first by the water element, La Piscine is a space where sensations slide, weight is suspended, outlines blur, silences appear.
Each session of La Piscine will aim to weave a dialogue with the singular space of the Leclerc public pool. Constructed in , the pool is classified as a historical monument. The experiences happening during those six days of October will try to re ask this question through the invention of new techniques of care. La Piscine proposes to question our capacity to open up to other ways of listening, of seeing, of sensing of touching the world as much as it is touching us - in other words Β« to take care Β» - echoing the words of Lygia Clark, who defined the artist Β« as a designer of the right conditions to allow the receiver to let himself drift into a disassembling of patterns - including his own β in favour of the composition of new flows.
