Mette Ingvartsen

Echelle Humaine - Manual Focus

Archive 2020
Performance

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.

Manual Focus, a photographic term, refers to the manual focusing of images - as opposed to auto-focus. With their naked bodies and old men's masks, the three performers in this visual piece bring out new images and create unknown creatures. Faces are rotated 180°, arms become legs, top and bottom are reversed, front and back as well. And here are born animals with twelve legs, disorganized figures, chimeras. Through unexpected connections between naked and masked, artificial and real, young and old, human and animal, the bodies we know - identified, gendered, ordinary bodies - are transformed into monsters, fabulous and moving. They open the way to new glances, to the possibility that the banal becomes absolutely unexpected. But since monsters never become familiar, they disappear, merge into others, leaving it to our memory to reinvent them.
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Running time : 25 minutes

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.