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
Crush Exhibition
Beaux Arts de Paris
February 2021
Sarr Prize
Two poplar wood panels 2,4m x 4cm x 2m, One poplar wood panel 1,22m x 4cm x 2m.
8m of heat-shrinking mirrors.
1 recorded sound of a family lunch between 4 generations debating on feminism.
A THEATER OF LANGUAGE
The play opens with the surprise of the intimacy of body language between two great characters. Parallels of speech come to play between them presenting then four levels of speech :
the photographic discourse (high up and then inside), the discourse of the monitors, the discourse of the screens and then the discourse of the voices without bodies.
The silent witnesses of the shadow - interior photographs :
The speech is for them in their look that we do not see immediately but that we guess by their posture.
The Deaf Laughter of Intimacy - the monitors:
Speech is then paused. A laughter comes to settle down like an alert to the speech. It alerts us that the speech is aesthetic by the features of the mouth and the teeth which thus form plastic forms.
The Gesture of the intimacy - the screens:
When speech becomes gesture. The tears, the bodies which meet, and the child, guarantor of the history, which is the polymorph of the action, which makes everything without fear because it does not know. So he tells, without intimacy, just in the pure enunciation of language, the story.
Voices without a body - the enclosure:
A rain of words where language becomes "being together", a permanent awakening, a constant demand for attention. Where is the word? Who is actually speaking? How to communicate together?
A staging of listening takes place within these characters.
WAY IN/OUT because we are crossed by language and language is then reflected in its own support, in its own experimentation.