2025
During her artistic residency at La Métive, the artist recovered several agricultural tools from a local flea market (vide-grenier) and brought them back to the place where they had once been displayed. Until 2006, La Métive housed a museum dedicated to rural life; after the museum’s closure, its collection of farming tools was dispersed.
This simple yet symbolic gesture — bringing the tools back to where they were once kept — initiates a reflection on the memory of peasant culture and the notion of museification.
The sickle, the central element of the performance, is decontextualized and activated by the artist’s body through repetitive movements and sounds. The performance transforms the former museum hall, now used as a dance studio, into a space of resonance between past and present.
With an essential choreography, La mémoire de la faux creates a dialogue between body, space, and object, reactivating the memory of gestures linked to the use of the tool. Removed from its original function and from oblivion, the sickle becomes the very body of a collective memory that continues to live and resist.
Durante la residenza artistica a La Métive, l’artista ha recuperato alcuni attrezzi agricoli da un mercatino locale (vide-grenier) e li ha riportati nel luogo in cui un tempo erano esposti. Fino al 2006, infatti, La Métive ha ospitato al suo interno un museo della civiltà contadina; dopo la chiusura del museo, la collezione fu dispersa.
Questo gesto semplice ma simbolico – riportare gli attrezzi agricoli dove prima erano custoditi – dà avvio a una riflessione sulla memoria della cultura contadina e sul concetto di museificazione. La falce, protagonista della performance, viene decontestualizzata e attivata dal corpo dell’artista attraverso movimenti e suoni ripetitivi. La performance trasforma l’ex sala del museo, oggi adibita a sala da danza, in un luogo di risonanza tra passato e presente. Con una coreografia essenziale, La mémoire de la faux mette in dialogo corpo, spazio e oggetto, riattivando la memoria dei gesti legati all’uso dell’attrezzo. Sottratta alla sua funzione originaria e all’oblio, la falce diventa corpo di una memoria collettiva che vive e resiste.
During her artistic residency at La Métive, the artist recovered several agricultural tools from a local flea market (vide-grenier) and brought them back to the place where they had once been displayed. Until 2006, La Métive housed a museum dedicated to rural life; after the museum’s closure, its collection of farming tools was dispersed.
This simple yet symbolic gesture — bringing the tools back to where they were once kept — initiates a reflection on the memory of peasant culture and the notion of museification.
The sickle, the central element of the performance, is decontextualized and activated by the artist’s body through repetitive movements and sounds. The performance transforms the former museum hall, now used as a dance studio, into a space of resonance between past and present.
With an essential choreography, La mémoire de la faux creates a dialogue between body, space, and object, reactivating the memory of gestures linked to the use of the tool. Removed from its original function and from oblivion, the sickle becomes the very body of a collective memory that continues to live and resist.
Durante la residenza artistica a La Métive, l’artista ha recuperato alcuni attrezzi agricoli da un mercatino locale (vide-grenier) e li ha riportati nel luogo in cui un tempo erano esposti. Fino al 2006, infatti, La Métive ha ospitato al suo interno un museo della civiltà contadina; dopo la chiusura del museo, la collezione fu dispersa.
Questo gesto semplice ma simbolico – riportare gli attrezzi agricoli dove prima erano custoditi – dà avvio a una riflessione sulla memoria della cultura contadina e sul concetto di museificazione. La falce, protagonista della performance, viene decontestualizzata e attivata dal corpo dell’artista attraverso movimenti e suoni ripetitivi. La performance trasforma l’ex sala del museo, oggi adibita a sala da danza, in un luogo di risonanza tra passato e presente. Con una coreografia essenziale, La mémoire de la faux mette in dialogo corpo, spazio e oggetto, riattivando la memoria dei gesti legati all’uso dell’attrezzo. Sottratta alla sua funzione originaria e all’oblio, la falce diventa corpo di una memoria collettiva che vive e resiste.
Demorar a l’hestacha, Approches Creusoises, sortie de résidence/exhibition, La Métive, Moutier-d’Ahun, France, April 2025
This video performance installation consists of two videos presented on separate screens within the same space. Conceived as a single, unified piece, the videos are meant to be viewed simultaneously, creating one immersive experience.
La mémoire de la faux 1 (The Memory of the Scythe), 2025, 3:35
La mémoire de la faux 2 (The Memory of the Scythe), 2025, 2:47
Site-specific video performance created during the artistic residency and exhibition at La Métive (Moutier-d’Ahun, Creuse, France) as part of the Nuovo Grand Tour 2025 program, promoted by the Insituto Italiano di Cultura di Parigi.
This video performance installation consists of two videos presented on separate screens within the same space. Conceived as a single, unified piece, the videos are meant to be viewed simultaneously, creating one immersive experience.
La mémoire de la faux 1 (The Memory of the Scythe), 2025, 3:35
La mémoire de la faux 2 (The Memory of the Scythe), 2025, 2:47
Site-specific video performance created during the artistic residency and exhibition at La Métive (Moutier-d’Ahun, Creuse, France) as part of the Nuovo Grand Tour 2025 program, promoted by the Insituto Italiano di Cultura di Parigi.