The term Ready-Made refers to the appropriation of everyday objects.
Inherent in our understanding of appropriation is the concept that the new work recontextualizes whatever it borrows.
Common objects are raised to the prestige of works of art by the context that reveals them.
My initial intention was to transfer the concept of Ready-Made done by Marcel Duchamps, into dance. An everyday object, in dance, can be interpretated as a fonctionnal, a casual movement, such as walking, looking, sitting, drinking, undressing… The fact of presenting those actions on stage recontextualizes them. Those actions appear under a new light. The context of apparition (the ritual that surrounds a performance, a stage, an audience, the inherent codes of our western performing ritual) makes an action bloom and reveals it under a higher “reality” than what the normal world offers to see. This is in a way what a photographer does. He captures a pure piece of the world.
Additional, those actions are transformed by the add of performative configurations, that differenciate them from the everyday life. By performative configuration, I refer to the work on the presence, on the rhythm, on the physicality, the relation between movement and light (the visual that is created with lights through movement), and the relation between movement and music.
The title, (All) Ready-Made, refers to fact that I don’t pretend to this had already been made, particulary by Yvonne Rainer with “Room-Service” and other performances. To write All-Ready, instead of Al-Ready, reflects the idea that all art is reproduction or use of any pre-existing form or material of the world.
The particularity of this art work is that it reveals the space that surrounds it. The center of interest isn’t only the performer in its body motion or presence. Hybrid version, between performance and visual art, it exposes the place of the performance, and reflect, through simple actions and movements, the potentiality of the human being on its environment.
This work contributes to the constant and necessary questionning of our art, act fundamental and inherent in all form of art creation.