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“It is the spectator who has to choose a thread, a way of navigating through the performance: perhaps a straightforward path, perhaps a convoluted one like in a Thomas Pynchon novel. Which one is the entrance, which one is the exit, which the beginning, which the end; where are they, are they even there, do they even mean anything, are they mere loops of sense?”


  • ifj_journalism11Loop>>60 Hz: Transmissions from the Drone Orchestra
  • ifj_journalism7Wayne McGregor & Random Dance: Atomos
  • ifj_journalism19SONAR 2014 (Read more)
  • ifj_journalism22James Thiérrée: Tabac Rouge
  • ifj_journalism36Théâtre de la Ville-Paris: Ionesco’s Rhinocéros
  • ifj_journalism50The Architects by Shunt: A Trip of a Lifetime (Read more)
  • ifj_journalism52Wayne McGregor, Max Richter, Julian Opie: Infra
  • ifj_journalism53Michael Clark Company: New Work 2012 (Read more)


“There is violence in this powerhouse-madhouse populated by men without heads and goggled monsters: the main set, a hybrid made of scaff lattice and broken pieces of mirror, rotating on its every axis, is constantly under threat of demolition, alluding to a final apocalypse that is yet to come. Assuming both definitions of scaffold (scaffolding and échafaud), it is paradigmatic of the inherent madness of this dream – or nightmare. This delirium of a play (for lack of a better word) reminded me of a line by Antonin Artaud: ‘clous carrés cages.’”