(Le Plus objet des objets)
contract for infiltrated performance
photo credit : Charlène Flores
view of the show 'Point Zero, gallery Chloé Salgado, Paris
In the continuity of my research and experimentation on various forms of presentation of past performances, I suggest a “contract” as a form that story-tells the performance ‘Le Plus objet des objets’ in the exhibition space (ex.a gallery), rather than a protocol and/or photo-video documentation. The contract is at the same time functional and a speculative language piece, playing simultaneously on the edge of legal vocabulary and its poetic dimension. It narrates the performance as abstract semantic entity, and rather than attaching it to specific activation case, opens up for futur reactivations in different socio-cultural and historical contexts circumstances.
As soon as ‘Le Plus objets des objets’ is based on no-script, but an improvisation from by performers in relation to a specific museum context, the contract determines the perspective and parameters for performers to undertake. On the other hand, it clearly sets “top-from-the-bottom” logic (term borrowed from sadomasochist vocabulary) between the artist and the institution: according to the contract, the institution must disclose internal information in order that the artist could dissimulate it and accurately infiltrate the museum.