ONON looks at the walls we live in and the rules we live by
ONON builds an allegory of our time
ONON is half human, half mechanical
ONON explores the line between the stability of structures and the fragility of movement.
ONON cuts movement into fragments
ONON seeks to better understand the (inter)dependence between the human body and anonymous systems.
ONON is a machine
ONON is a mobile labyrinth.
In ONON human and non-human agents create a multi-rhythmic performance reminiscent of Fernand L\u00e9gers Ballet M\u00e9chanique.
In ONON things move.<\/p>\n\n\n\n
In recent years, Cl\u00e9ment Layes has been working with rhythm as a fundamental element for the operation of theater and dance. In the group performance The Eternal Return<\/em> (2017), rhythm was used to explore the liminal spaces that are produced by our daily actions. In The Emergency Artist<\/em> (2018), rhythm served as a break, as an element that abbreviates, interrupts and displaces the temporal structures of our existence, and in doing so, suspends these actions. ONON<\/em> is the third performance in this series.<\/p>\n","protected":false},"featured_media":4893,"template":"","class_list":["post-4892","residencies","type-residencies","status-publish","has-post-thumbnail","hentry"],"acf":[],"yoast_head":"\n