The space is an abandoned building, in ruins. It preserves traces of the fire that destroyed part of his original structure and some personal objects of the community of gipsies that lived there for ten months, before being thrown out by authorities. It is located just outside Gare Franche. This is the architectural and human framework, with it’s poetic landscape of dismay and devastation, that Raphaelle Blancherie chose to inscribe an artistic gesture: an empty space for a moment inhabited by a male body that crosses it very near the wall, followed in its steps by a tall women in a pink dress obsessed in drawing a white line marking his path. The journey of the two is registered in photography by the artist Yanniv Cohen, and in two video cameras, by Gaël L. and Diane Grujot de Saint Michel.
In this first moment of tryout – the live one – there are different levels of experiencing the embodiment of space. First through the personal and interior connection of Kostas with his surroundings, where he is for the first time, who embraces in a different frame of time, slowing the rhythm of his steps, crossing the abandoned space almost leaning on the wall. As if he was falling at any moment, pressured by the weight of life, history and memory. Through the presence of Agnes Verrier, and her attempt to register a trace of a passer by in that ruin of hopelessness, there was an energy in the movement of scratching the wall and despair to leave an imprint as he wondered by. That kind of obsessive energy changed the intention of her being there. More than the paint that left a trace, there was the energy impregnated in the action and some kind of excess of the body, that was more significant than the effective action of painting it.
And then there were the eyes of the cameras, that created a frame limiting the space of action and of fiction, that could not be crossed by who were there to watch. And then there were the eyes of the viewers. In silence, as Raphaelle asked. These other eyes created another frame, an irregular one, with lines in motion that changed according to the disposition of each person that accompanied this procession, as witnesses more than spectators – according to the expressed will of Raphaelle. All these elements brought a potential and possibility of intensification of the poetic meaning of this constructed crossing of such a place of desolation, loaded with broken or burnt pieces of disturbing memories of a community.