Presentation of my research on the body and the image of the body, within the context of an inspection of student work at E.N.A.D. (École Nationale d’Arts Décoratifs)

Preparation:

The installation was done in two parts, in a quiet green space at the school that was crossed by a path. It was prepared some time before the action, for the presentation of the work. In the section off to the side, between two pine trees, a wire was stretched to which seven dresses were pinned, nun’s habits twisted and dipped in pigment. Two unbleached canvases of recumbent figures down were placed directly on the grass. Also, a ceramic “slab” made of many pieces that had been impressed by my naked body.

In the other part where the main action took place, a very large unbleached canvas on which excerpts of readings on the novitiate, vocation, taking the veil have been traced in India ink, serves as a shroud. At its center, a single “bed/couch/mattress,” made of the same canvas. On the inner side of the canvas, canvas masks, one on top of the other. On four sides of the scenic canvas, four pieces of cloth/togas, sewn and painted (blue, yellow, red, purple). Finally, three more attached pieces on the ground: two “recumbent figures” of canvas, a fragmented slab with the imprint of a dressed body, and the habit in question to the side. A display of objects, of offerings, some of which will be distributed during the action.

Action:

Absolutely silent action which will begin before the spectators’ arrival. Throughout the action, Jacques Miège, on the roof of a terrace, will move around, making noise, as a witness to the “RECONSTITUTION” would later say, in order to take aerial photos of the view below, as desired.

My body dressed in a knotted tarp all in one piece, like a jumpsuit, I remain stretched out for a long time in the middle of the large canvas, covered by a few shady areas. Sleeping body, nearly dead, without any movement other than that of breathing. People have arrived, remained standing for awhile, have settled in the circular part of the installation, keeping a certain distance. My movements were slow, calm and measured when I started to move, and remained this way until the end. On my knees, I took the first canvas mask from the pile and I placed it on my face. Then I got up, another mask in hand. My eyes hidden, I looked over the audience. I chose a first person. I repeated the process a number of times, returning each time to the large canvas in the middle to take a new mask. The spectators, professors and students, were half-amused, half-worried to be chosen. Dominique Angel, François Pluchart, Remi, Isabelle Pujolle and others each received a mask and had a partial view of the action. The atmosphere seemed heavy to the spectator witnessing it. Then I went towards the “offerings” and in the same slow manner, chose a person. I attached a necklace of clay bead to Michèle Jolivait’s neck. Did I repeat this action several times? I don’t think so. Then I headed towards the hanging dresses, took one down, blue/pink, and put it on the grass. I carefully untied each cord, each sash, each knot. I flattened the fabric. I got up, exited the installation and left. There was no applause. The students and professors understood that I had finished my presentation.

Commentary:

A heavy mixture of ritual, religiosity, and theatricality. Rigidity stiffened by the gaze of the other. The desire to draw near to and to deny the other at the same time, to allow oneself to be seen and to hide at the same time, to impose oneself and to erase oneself at once. Reaction against art that must give itself to being seen and lend itself to value judgments.

Interesting experience for listening, silence, slowness, suspension of things and of time, strangeness of reality and interplay with the audience.