Audrey Rochette

From my viewpoint as an emerging choreographer, I felt at some point I had to take a stand, through my questioning of the commercialization of art works. The artistic paradygm we're into pushes us to be original and unique (as mentioned by Boltanski and Thévenot; the singularity regimen opposed to the community regimen) and at some point, catchy. The process is inverted as I see it. It's not the the market who has to adapt to the creative fortune, but the artist to adapt their art to make them salable. For my part, I see a dangerous infuence of neoliberalism on the arts, which are, in my ideal, supposed to be independent from it. In this connection, art is losing its power and relevance.

I am also very interested on the established consequences of this on feminism within the art world. Consequently, with the principal mechanism of the work, I use satire to write an epigraph exposing the phenomenon of a reproduction and exaggeration of stereotypes. With the casting choices, I expose the supernumerary feminine phenomenon and the infuence of this imbalance on the equality dynamic. In this way, I allow the public to react and position themselves when confronted with this magnifcation of reality observed without any pretention of having any form of answer. Of course, there is a type of editorial commentary in satire, but the show does not direct the audience opinion. Rather, it holds vigil while showing the various traps and faults of the artistic paradigm as it is, a movement to encourage the authenticity and integrity of works. All of this, with icing on top.


Photo by: Charles F. Marquis

Dancers (L to R): Marie-France Jacques, Noémie Dufour-Campeau, Joannie Douville, Patrick R. Lacharité, Marie-Eve Demers, Élise Bergeron