Laundry  (USA)

MOCA (Miami, USA)

IN ACTA NON VERBA performance , Plaisir silently protests all acts of domination by wearing clothes from colonial times and slowly moving her hands from her  eyes to her ears and  her mouth. For context, she places herself in symbolic places, such as a laundromat, a run-down train car that was once used by President Roosevelt  (POTUS1).

If the human body is prime, it appears with its blood and clothing. Clothing is its shape, meaning that it is the medium, and at the same time, a certain definition of that body, that through which, one encounters another independently from his/her face or members. Beyond a simple superficiality of no consequence, the apparel participates in a vast symbolic game and expresses a manner of interacting with one another, in short, of living together in society. The adornment of the body itself establishes the social fabric. Clothing -and by extension the fabric- serves as the basis for social reality.
The apparel is at the same time ambivalent : authenticity and pretense are generously mixed there. The apparel gives one the ability to be totally de-individualized and yet remain oneself. The qualities of this modulation of the appearance could be multiplied.

In the first place, the Performance is an opportunity to present the highly ambivalent, even contradictory, character of clothing conventions, taking into account the fact that clothing is not the simple reflection of one’s identity. Clothing is an evidence of the reversibility of identity. Thus, simply clothed, the body disappears under cover while dressed up, disguised, adorned with different layers of garments or make-up, and it affirms its randomly contoured character. Plaisir raise the issue of being and appearing, of truth and lying, of the inner man and the outside appearance.