Rosy-Blue a trouvé un truc très scénique
Rosy-Blue found a very scenic thing, a televisual thing, a thing from a cinema set, even. Rosy-Blue moves without any naïveté at all, from here on out. The sky is pink, sometimes blue and then green. The aquariums breathe, they sweat, the clothes are white. You can project light onto the white of all the Rosy-Blues, a luminous beam like a ripple in water, it just lit them from behind. Sometimes they are lit from the front. You can see the reflection of the cameras that are inventing the image. She un-multiplies, Rosy-Blue.
Rosy-Blue was born in a novel by Hervé Guilbert, somewhere in Italy, in a room where the surface of the ceiling was covered in birds. Rosy-Blue danced in a cabaret with her nipples rouged in blue. Rosy-Blue got in a fight with the projectionist-cum-light technician, and ever since then she runs her own show.
As a guest of the artist Benjamin Valenza, we created a performance organised around three short scenes. Four women sitting on a bench in white clothes take in the light of a projector, an aquarium bubbles, a fifth woman does a strange dance with a mirror, a sixth parades around wearing a metal mask. Meanwhile an unknown hand plays with little metal balls on a green screen, balls which make images in close-up appear and disappear, interrupting the action. They show lines on the face, beads of sweat, anxious eyes: flaws that the distant bodies refuse to show.
Performance filmed and streamed live at the Friche la Belle de Mai in Marseille, as a part of Benjamin Valenza’s project Labor Zéro Labor.
Francisca Crisóstomo López, Laura Giaomini, Isabelle Mollard, Isabelle Thorrand, Catherine Thouzeau.
This project is supported by Fondation d’Entreprise Ricard.