Moor Mother


Yann Marussich (CH)

A man lies down naked on the floor coated with green-tinted oil, while a rope is tied around his neck, ready to pull the performance over the transits, or Traversée in French, distance of 13 meters. The transit however, depends on the audience’s actions. Anyone can activate the winch and the rope coils, pulling the performer by the neck, triggering, for the audience, a sadistic and, for the performer, a masochistic crossing.

There are no instructions, there is no procedure to follow, the spectator is free on all levels, and all possibilities are latent. But either by activity or passivity the audience becomes part of the performance.

The audience is intentionally stuck in a group dynamic, full of hopes and threats, taking – or lacking – responsibility for their opinions and actions. Here, individuals relate to each other by sympathy, antipathy or indifference. Since it appears that aggressiveness increases productivity in a democratic group, Marussich’s risky performance experiments with individual liberties at the very heart of the audience, actively invited to dominate a passive ‘other.’

In this piece Swiss performance artist Yann Marussich employs his own immobility to mirror the way how relationships of domination are constructed, and how humankind engages in the most dubious ways to interact with ‘the other,’ thus revealing its real ‘nature’ when being given authorization and authority.

Yann Marussich featured at CLICK Festival in 2016 with his motionless performance Bleu Provisoire. Below is an interview about his performance. 

Photo credit: Isabelle Meister