Metro boulot dodo
Metro boulot dodo presents a cynical theatrical scene as the artist's response to contemporary urban routine. "Metro boulot dodo", literally meaning "tube work sleep", is a French expression referring to the simpleness of the automatic urban repetition. (This expression was borrowed from the poem Couleurs d'usine by Pierre Bearn, 1951.)
Hanged, disposed and hooked on a coat hanger, three nuclear families of dominoes are stabbed, stuck in their physicality: standing up, sitting or laying down. Only understood through their form and potential performance, the dominoes are associated to feed the physical production and meet the pace expectation of this routine. The dominoes stop existing outside of these three physical positions, any attempt for movement not serving the routine mutes into residue.
In opposition to the sculpture Dominoes’ mektoub, the dominoes are here understood for their form and not through their content. As they are not associated with the understanding of their numerical dual singularity, the dominoes loose the need of these points of tension, –only their cast matter to serve the routine logic needs, their individuality disappear as their points suffocate, invaded by black toxic plastic.
The artist performs activating the routine as a self confession of her participation to the urban pace logic. Performing with her own body, she intends to expose the contradiction lying between the fluidity of her own body and the rigidity of her standardised environment.
Hanged, disposed and hooked on a coat hanger, three nuclear families of dominoes are stabbed, stuck in their physicality: standing up, sitting or laying down. Only understood through their form and potential performance, the dominoes are associated to feed the physical production and meet the pace expectation of this routine. The dominoes stop existing outside of these three physical positions, any attempt for movement not serving the routine mutes into residue.
In opposition to the sculpture Dominoes’ mektoub, the dominoes are here understood for their form and not through their content. As they are not associated with the understanding of their numerical dual singularity, the dominoes loose the need of these points of tension, –only their cast matter to serve the routine logic needs, their individuality disappear as their points suffocate, invaded by black toxic plastic.
The artist performs activating the routine as a self confession of her participation to the urban pace logic. Performing with her own body, she intends to expose the contradiction lying between the fluidity of her own body and the rigidity of her standardised environment.
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