TIME FOR REVOLUTION
TIME FOR REVOLUTION
TIME FOR REVOLUTION
As a spectator who can’t take any more of the news—each story worse than the next,
As an activist tired of seeing that nothing can be resolved by talking to institutions,
As a human being fed up with sterile communications that bring no action for those affected,
As a social being who, despite herself, belongs to capitalist society, feeling powerless, as if her voice— even when shouting at demonstrations— is never heard...
It’s as if the body must become the battleground for my struggles, because a body—dead or alive—seems to say more than voices or words that sink into oblivion.
With my own body, I want to shout my indignation at a humanity that learns nothing from its past mistakes. We are stuck in a perpetual cycle, as our old friend Plato might say, and it’s time to break this circle.
I’ve been waiting for the Messiah, but now that they’re clearly not coming, it’s up to us to come together and fight for an end to the desperate agony of a humanism that no longer resonates beyond borders.
If the words and images shared across all our fabulous social networks don’t make the elites—who clearly have the power to resolve poverty, social, and medical injustices—react, then let’s take up arms, WE ARTISTS, and burn all these arid, endless talks.
Without artists to tell the story, the world will remain a barren wasteland, where only aimless, detached capitalism will grow, serving merely to exchange a currency that doesn't actually exist if we stop using it.
The only real currency that exists is our exchange—from being to being, from idea to idea, from image to image.
That’s what history will remember.
!! Happy burning year of 2025 !!
Performance written by Sarah Konté
Directing and Shooting by Meredith Marlay
Danse d’un conte éveillé
DNSAP
Beaux Arts Paris
In this performance installation, triggered by two ushers, the film unfolds according to the movement of the audience, gradually revealing an exploded cinematography within which the narration becomes free.
Presenting different supports for the projection of images, from video-projectors to screens, the installation itself becomes a performance, a dormant piece that is activated by movement, by the presence of a being colliding with the space it awakens.
It is then by the movement and the sound that a meaning comes to be outlined within this game of representations which
interpenetrate, which try to understand each other with their languages which seem different but which by playing together come to bring a new meaning:
the meaning that the audience chooses to compose with these elements of scattered languages.
A search for a new cinematographic writing is performed.
Interpreting myself a variation of griotte (storyteller of oral tradition in West Africa), presenting a story but letting it be told by the audience, which has sounds, images and texts and which thus builds the story it wants to tell itself or not, the choice is hers.
The story is free to dance and we can thus be carried away by what we cannot understand, in a continuity of the theory of the opacity of Édouard Glissant.
A twirling story, an illusory story, a disjointed story, it slumbers, it dances, it jazzes. The film is thus performative.
The audience enters this film that takes shape before its eyes.
8 videos 4 sounds
2 ouvreuses 1 griotte
William Greaves, about Symbiopsychotaxiplasm : Take One, 1968, said :
« Creative piece of cinematographic experience »
Presenting different supports for the projection of images, from video-projectors to screens, the installation itself becomes a performance, a dormant piece that is activated by movement, by the presence of a being colliding with the space it awakens.
It is then by the movement and the sound that a meaning comes to be outlined within this game of representations which
interpenetrate, which try to understand each other with their languages which seem different but which by playing together come to bring a new meaning:
the meaning that the audience chooses to compose with these elements of scattered languages.
A search for a new cinematographic writing is performed.
Interpreting myself a variation of griotte (storyteller of oral tradition in West Africa), presenting a story but letting it be told by the audience, which has sounds, images and texts and which thus builds the story it wants to tell itself or not, the choice is hers.
The story is free to dance and we can thus be carried away by what we cannot understand, in a continuity of the theory of the opacity of Édouard Glissant.
A twirling story, an illusory story, a disjointed story, it slumbers, it dances, it jazzes. The film is thus performative.
The audience enters this film that takes shape before its eyes.
8 videos 4 sounds
2 ouvreuses 1 griotte
William Greaves, about Symbiopsychotaxiplasm : Take One, 1968, said :
« Creative piece of cinematographic experience »