YOUR FACE IS A LOVE SONG

INSTALLATION

At all stages of our lives, from birth to death, we depend on each other. Human beings are built through affective, social and professional interaction with their fellow human beings.

Most spiritualities on the planet agree on the idea that this force of interaction is love, even when it is not obvious. Humans find in the face of others a mirror, and sometimes a reminder of what Jean Anouilh’s Antigone says: we were born to love, not to hate. Your face is a love song is an installation, conceived as a permanent whirling dance. It highlights the spontaneous movement of suspensions, according to the air, variations in temperature and breathing, the movement of the people present.

The suspensions are sheets of recycled food kraft, light and airy, whose shape moves sometimes discreetly, imperceptibly, sometimes swirling, drawing silhouettes that evolve over the air at their own pace. The form of the installation is scalable, and varies according to the spaces. It integrates as part of its existence the presence of the public or of artists who interact with the silhouettes of kraft by dancing, singing, walking.

Photo credits : MAMC

At all stages of our lives, from birth to death, we depend on each other. Human beings are built through affective, social and professional interaction with their fellow human beings.

Most spiritualities on the planet agree on the idea that this force of interaction is love, even when it is not obvious. Humans find in the face of others a mirror, and sometimes a reminder of what Jean Anouilh’s Antigone says: we were born to love, not to hate. Your face is a love song is an installation, conceived as a permanent whirling dance. It highlights the spontaneous movement of suspensions, according to the air, variations in temperature and breathing, the movement of the people present.

The suspensions are sheets of recycled food kraft, light and airy, whose shape moves sometimes discreetly, imperceptibly, sometimes swirling, drawing silhouettes that evolve over the air at their own pace. The form of the installation is scalable, and varies according to the spaces. It integrates as part of its existence the presence of the public or of artists who interact with the silhouettes of kraft by dancing, singing, walking.

Photo credits : MAMC

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