PROJECT // La sommation des acouphènes
In this research residency we will continue to explore the first contours of the stage creation La sommation des acouphènes. .
La sommation des acouphènes is an erratic performative proposition working around and with two tales of spiders as a form of queer embodiment: The true story of a spider who died at 43 (making it the oldest spider in the world) and the fabulation told by philosopher Vinciane Despret in their book Autobiographie d’un poulpe et autres histoires d’anticipation, which tells the story of arachnologists who developed tinnitus during their experiments on spiders.
It’s the cry of a spider / It’s an experiment gone wrong / It’s Gaius villosus / It’s an animorph / It’s a queer poem / It’s an incantatory vibration / It’s trans science fiction / It’s the audible chaos of a body trying to escape from a grammarless cacophony of sound / It’s entities recreating points of connivance with this other-than-human.
The collaborators of this residency are Sammy Halimi, Michael Martini, Frédérique Chassé and Mycelium.
BIO // Gui B.B is a trans-femme artist who has not managed to complete any schooling. Her practice oscillates between immobility and performance art. Her collaborative and solo work has been presented in various venues and festivals (L’Écart, OFFTA, the Darling Foundry, RIPA, the Trois-Rivières performance art festival, arts-souterrain). She has also presented in various alternative spaces where she self-explores the medium of performance, its potential for imposture and healing.
Reflecting on performance as a practice of world-building, she deploys indisciplinary performative statements in which theatricality, irony and voice appear as central materials. By engaging with different forms of kinship, her process brings out new constellations, possible reconfigurations to dominant narratives. In an abundance of object-gestures, she creates spaces in which the audience can experience nonsense, an eruption of alterations to normative identifications.
More recently, she has been developing a visual, textual and sonic lexicon of D.I.Y. that refers directly to science fiction, with iconographic and philosophical research into non-human life forms and speculative narratives.
Her references and concepts sometimes dissolve into oblivion and aggregation. She neglects her back, her voice and her memory and takes the time to never be too prepared in advance.
