Nuances #2

The Nuances program continues in a second phase. In addition to the architectural interventions of Elise Legal and Guillaume Perez, the work of Ismaïl Bahri, Bruno Silva and Andréa Spartà will be on view as soon as you enter the theater. The film series Revers 2, 4 et 5 (2017) by artist Ismaïl Bahri is a catalyst for the Nuances project. On screen, a man crumples and uncrumples a magazine page: the glossy paper, initially a shiny image, becomes a gray rag. We witness the erasure of color and, through this simple gesture, the destruction of the image. Symbolically, this modest action carries a much deeper meaning: to erase the image is to destroy the world it embodies. Opposite, in the ticket office, a collage from Bruno Silva's Insomniacs (Laundry) series is on display. In the theater, a dozen or so of these collages are scattered around, combining bed linen with bemused, constantly open eyes. Observing and being observed, we are invited to wander through the spaces of the theater in search of the edge areas that host them, from the dressing rooms to the stage management, via the underside of the stage, the fresco room and the entrance to the small theater. Upstairs, in the Cabaret space, the vibrant silhouettes of Andréa Spartà's light sculptures appear. They are accompanied by delicate drawings of fruit that seem to spy on us, evoking mourners with exaggerated tears. The way these works and their elements manifest themselves to our sensibility is like a phenomenon: an atmosphere, a flow of energy, a weather forecast, The Weather. Here, something is at play, perceptible more through our sensations than through our own sight. Slide, phenomenon, in-between, latency and disappearance abound in Nuances #2. It's a question of a tipping moment, leading from one side of the nuance to the other. We believe or we don't believe, we go or we don't go. Do we go on?