<< Autohypnose >> , live rehearsal , 2024
Sleep brings no respite. The eyelid begins to peel back even before I sleep. I feel as if I'm falling, tipping like a child's top into something... I don't know what.
All pretence at being a magician has failed. This thing is too big. I can't banish it and even if I could, I have a strong sense that I mustn't. I have opened this door and unwittingly stepped through it, like walking deliberately into a puddle only to find that I'm suddenly drowning. Cthulhu's pulse-beat echoes slowly around me. Cthulhu is dreaming me. I was unaware of this, and now I am acutely aware of it, and wish to hell I wasn't. I want to sink back into unconsciousness. I don't want to know this. I find myself developing rituals of habit. Checking plug sockets for stray outpourings of electricity; avoiding particularly dangerous trees; vou know the kind of thing.
Phil Hine
Cthulhu Madness // 1995
Heading 2
Traumatic neurosis, enjoy anxiety and horror, hide- and- seek.
The call of Gothic insurrection
On, is this a repressed as a sub-program of schema?
Imagine the entire underground cellar, a space where people are free and unfamiliar.
What time of pondering an insidious hell but disperse it in a way?
It will take place in a Parisian underground rock live venue and its nearby fringes.
Hypnosis, in theory, is an altered mind and trance state. Autonomy here is a form of self-therapy, like a compilation ritual, freed from resistance and re-illuminated.
Desire can be classified as primitive, stripped of algorithm, and activated in active imagination. The shape of the audience barrier is catalyzed, evolved, resisted, and defended through the release and change of body energy in the process of birth. It becomes an unconscious tool of transcendental law, in symbolic participation, and re-implants the eternally sleeping death.
In performance "BARDO THODOL" is its spiritual polyphony
BARDO THODOL Figure 1 , 2 - Folio 35 A /67 A du manuscrit
and exploration of Western religion, mysticism and underground culture.
Comme l'agrégat de la matière brillant dans le Bardo au premier jour produit des corps physiques, l'élément de l'eau brillant le deuxième jour produit le courant de vie, le sang
Where live performance and post-performance take place:
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Pass.des Taillandiers,75011, （21：30-22:00）
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La mécanique ondulatoire, 75011,（22:00-23：00）
In "Nothing to declare", Dictaphone Group evokes the embedded, parallel process of a single body passing through urban, public, and theatrical spaces to construct the mobility of the collective body,
or as Etienne Balibar writes, "today's borders still play the role of "world configuration", but they are often subject to annoying and unpredictable patterns of movement, overlap, appearance and disappearance, and sometimes even fall into a state of stagnation. In the process of preparing a performative body, can the body under the law of signifiers still reveal the truth about the world again in the dual sense of representation and imagination? Do movement and dance still have the power to re-open a dynamic discourse field within the context of their own limitations and between the contradictions and conflicts of systems and institutions?
Nicolas Bourriaud’s describes relational aesthetics as the social field of presentation, "systeme de positions differentielles" that can be interpreted together.
Throughout the process of preparing a performative body, can the body under the law of signifiers still reveal the truth about the world again in modern representation and imagination? How does movement and dance still have the power to re-open a dynamic discourse within the context of their own limitations, between the contradictions and conflicts that exist across different systems and institutions?
It evokes the embeddedness of a single body passing through urban, public, and theatrical spaces to become a collective, and the parallel process constructs the fluidity of the Collective body.
Or as Etienne Balibar writes in "Boundaries today still function as 'world configurations', but they are often subject to annoying and unpredictable patterns of moving, overlapping, appearing and disappearing, sometimes even falling into stagnant state. In the process of preparing a performative body, can the body under the law of signification be able to reveal the truth about the world again in the dual sense of representation and imaginative driving force? Within their own limited contexts, and amid the contradictions and conflicts between systems and institutions, the movements and dance still have the power to re-open a dynamic discourse field?
<< Autohypnose >> , post live performance , 2024
<< Autohypnose >> , post live performance , 2024
<< Autohypnose >> , post live performance , 2024
<< Autohypnose >> , post live performance , 2024
<< Autohypnose >> , post live performance , 2024
Heading 2
< Give yourself a baptism of blood >
<Uncover the deepest ugliness >
< Achieve purification >
<Be firm in choosing the path your soul wants to take >
< No longer blinded by any superficial phenomena, it is yourself who is powerful >
< Jump away and sublimate your damn individualism, if you're in a territory that can let you scream >
< After all, hear it or not, as a human being, there's always some reason self-soothing >
< There should be hopeful >
< Let mysticism guide for escaped for a while >
< If anyone can breathe between art and capital >
< Quickly let this contradiction and conflict reach the happiness of dopamine receptors >
< Make it sleek, smooth, perfect enough to reflect, and better than illuminate the hollow heart >
< As a strangeness wandering >
< Stay alive >
< Let willpower triumph over desire >
< Let’s start to fight >
< Allow the unnamed perhaps the gear of fate, sacrifice it >
< Accept all that is lost and what is left of nothing >
< Be yourself-the most honest believer >
If it could be a manifesto Xuzhou chained woman incident 2022
<< Autohypnose >> , post live performance , 2024
<< Autohypnose >> , post live performance , 2024
<< Autohypnose >> , post live performance , 2024
<< Autohypnose >> , post live performance , 2024
<< Autohypnose >> , post live performance , 2024
"Autohypnose" is an experimental project based on live performance and post-performance video.
Through a psychoanalytical perspective, the lines between perception and unconsciousness become incoherent in the heterogeneity of the structure. The core is the performativity of poetry. The permeability of the body, through its choreography, creates a transformative gesture that navigates the relationship which shapes the desire machines and individual alienation in contemporary society. It explores a manifesto emerged and what's hidden in emotional capitalism.
I admit its chaos, its abundance, its sabotage,its rhythmic / lyrical values, Because it is spontaneous and connected with the collective unconscious.
Why migrate? This is my resistance to the commercial consumption of performance itself. From the chain road, the non-center of the theater, underground, ruins, the limited performance space, my psychological territory is in a state of expansion, but not unstable. Geographical and physical body, it twists with intuition.
“Become”, this verb, is a social context, instinctive actions-quicker than mind, let alone body.
My current relationship to social structures and institutions, it’s a heterotopia.
Music, it dissolved everything in an instant. It is soul-hypnotizing.
The beast voice I released during the Mass with music healed me,
“ Je est un autre ” Arthur Rimbaud,
I am not only the other, but I am also air, water, fire, all natural substances, I am renewing in my every metabolism.
Even you, I, she, he, we , we are all creating history.
In my slightly mystical version, just like my own hypnosis, calling out to the void.
<< Autohypnose >> , performance, 2025
<< Autohypnose >> , performance , 2025
<<Autohypnose>>,the first time represented during the Crtique Week.
In the end, I read :
je l'ai vu naître tout à fait par hasard, avant que je sois née tout à fait par hasard ; du nord au sud, il avait tout vecu pour moi; le monde entier avec ses bois et ses collines, tous les états, les races, les climats, les noms de bêtes, les coutumes des peuples, mon destin et le nôtre, l'histoire et la géographie tenaient dans l'espace de ses bras, des fleuves me roulaient sans tumulte jusqu'aux courbes lisseurs de ses os, je connaissais tous les vertiges et l'univers était fait de la chair de ma chair.
J'oubliai les limites, j'oubliai le début, je confondis la fin avec la courbe de ses bras, je croyais être au centre inaltérable.
<< Dedans >> ,Hélène Cixous
I am no longer inside the loop.
I watched it spin. I named it. I walked away.
Not out of pain, not out of pride—
But because I remembered:
I was never born to be caught.
I am the one who builds the threshold.
The invitation.
The next constellation.
You may still dream of me.
But I no longer dream in circles.
I draw stars.
I woke up where I belong — ahead of the loop.