The Feminine Futures ‘Interactive Pavilions’ are ephemeral
architectures structured as articulated membranes, foldable and
transportable in museums and public spaces.
They are dedicated to the interaction of the visitors with contemporary
artists in film and photographic records of the exhibition.
Their geometry stems from a deconstruction of ‘Kinesphere’ Rudolf von
Laban. While Laban Platonic icosahedron corresponded in its refined
geometry, utopian visions of the early twentieth century, and
fragmented multipolar world today involves more forms ‘kieslerienne’
more dramatic, even tormented.
Rudolf von Laban theorised the break with the frontal relationship
between performer and audience, inscribing the dancer’s body within an
autonomous space where all directions are investigated.
Seeking new exhibiting possibilities adapted to performance and film in
a museum context, the Dance Pavilions break the passive view of a flat
screen, offering to the audience an immersive and interactive
In this space, the public is invited to react and improvise a response
to a rare historical corpus, a modern and surprisingly topical despite
decades of distance in time. Motion sensors linking today’s actions
with those of the pioneers of performance as a separate art form.
Both temporal fringes are projected vis-a-vis to each side of vessel
and are visible from the outside by the translucency of polycarbonate
walls. The interior space is relatively cloistered and intimate to not
disturb the concentration.
Pavilions function as democratic production studios. Visitors can bring
back and share the film their own performance as a digital sequence
instantly available in the cloud.
These architectural ‘machines’ function as a network of
digitally-connected modules between several places or museums. The
performance in one site can be projected simultaneously into another
playing with the presence or absence of the public from one place to
the other, according to the rhythms of life following the time zones.
A network of Pavilion modules could be hosted by art spaces and
institutions such as the Langmatt Museum with Sarah Zürcher, the
Serpentine Gallery with Hans Ulrich Obrist, the Tate Modern with
Catherine Wood, the Palais de Tokyo with Jean de Loisy and the ZKM with
The Fragmented Dance Pavilions function as a network of
digitally-connected modules where live performances from one site can
be projected simultaneously in the others linking the global historical
network of early 20th Century European and American avant-gardes to the
hives of young contemporary talent.
The essence of the Pavilion is ephemeral: it is made with trapeze
plates of translucent alveolar polycarbonate reinforced by aluminium
frames. LED video-projectors are mounted inside the Pavilion; they are
connected through the Cloud and digitally-programmed to switch
instantly from the projection of live performances to historical
footages and vice-versa.