In residence: Pauline Brun

To talk about my work, a friend used the verb délirer which comes from the lira, a tool for making furrows in the earth. To de-lirer, then, is to step out of the furrows.

The creation “TAPIS” is part of a wider research project carried out at Villa Kujoyama (French institute in Japan) around Chindogu – a Japanese concept born in the 1980s to name a family of tools that are useful but unusable because they are ineffective for x reasons. Made by tinkering, assembling and fiddling, they are attempts to solve everyday problems. To be Chindogu, the object must meet a number of conditions, including not being sold or mass-produced. For me, this concept acts as a prism through which to view the ways of doing, the codes and conventions, and the performativities at work in everyday rituals and traditional Japanese practices. In using Chindogu, I seek to resolve performative situations inefficiently. Sometimes, I need to invent my own Chindogu to respond to a context. My cap, for example.

My research takes different forms: a series of performances, a show, an edition of drawings, a series of videos and a series of photos.

“TAPIS” is a choreographic and visual trio exploring the inefficiencies encountered in our relationships with others, things and contexts. The show is an augmentation, a complete trio album of the performance series, an assembly of fragments alternating isolated figures and group attempts. All the pieces deal with and dissect the games of representation in the Chindogu way. In other words, questioning conventions by setting up a deviated process. Deviations open up other logics that shape the group. Together and apart, they stick to the space in which they find themselves, to the things they come across, and to each other, drawing delirious worlds out of failure.