"Where would we have danced tonight?" is an installation that exalts the past, an ode to 2019, that reimagines the party beyond the visual, reproducing sound, light and spatial stimuli. A "time-specific", which only makes sense now, in 2021, and which reflects on the difference between pre- and post-pandemic freedoms, an aesthetic proposal that analyses the perception of our previous social behaviours, as a dynamic itinerary of hierarchical rituals in the prototype of a party. Gatherings that have become an obsolete practice. 

It treats the party as a vanished and fossilised reality that should be exhibited and archived in an encyclopaedic museum. 

It draws on two initially antagonistic concepts, that of the party, as a ritual, and that of the museum, as an institution. The aim is to create a heterotropy based on celebration and transfer it to the institution where society has imposed on us and where we have adopted a religious behaviour based on silence and silence. 
It seeks to break with conservative and old-fashioned relational artistic dynamics.Taking Bourriaud's relational aesthetics as a reference, the audience becomes part of the work, the audience dances with the work, remembers with it and misses with it. with it, remembers with it and misses with it. The spectator himself in the performance implicit in the installation, which then becomes a happening. 

The concept of party, although it may seem a banal term at first glance, is a sociological ritual that invites us to study the behaviours and mechanics of power in society. The divisions into days, weeks, months, years, etc., which correspond to the periodicity of rites, festivals 
In a way, they are a false escape from the society of fatigue and a space where the participants create imaginary social links. At a time when partying is forbidden and social contact is frowned upon and the media treats it from a jocular and sarcastic point of view. and sarcastic point of view, when in reality it affects a large percentage of the population and on a historical and social level has great consequences and repercussions. 
repercussions. Festivals, rallies, concerts, meetings, shows, discotheques... have closed down and hearing about it seems mythological, reminiscent of the daily scene of a grandfather telling his grandchildren about his battles in the military: "Well, I used to dance without a mask or social distance until all hours"...

The only form of cultural leisure that exists today are museums, and it is not surprising that visits to these cultural centres have grown exponentially this summer. But as we see it, the museum is not conceived today as a form of leisure. to this form of culture, we have to break with the idea of the museum as something sacred, silent and boring, because that is not what art is. The  art is volume, light, colour, reflection, criticism, expression and fun. This is what this work proposes, which, although paradoxically critical of the art institution, wants to enter it. artistic institution wants to enter into it.

"Where would we dance tonight?" is a cry of complaint in the silent museum, a critique of the media and a reflection on the festive rituals that are incumbent 
on the festive rituals that concern society as a whole.

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"WHERE WE WOULD HAVE DANCED TONIGHT?"

Installation, mixed media. 2021