Sunday Was Already Today

At WallStreet, the staging freezes a dynamic of repetition. In Ilaria Vinci’s work, the carnivalesque and folkloric repertory is turned on its head, taking away all pretensions of procession and rite and turning them as a set of props for operations that require constant reenactments, waiting to be seized or for a customer to enter the carousel. These personal and subversive codes of emancipation therefore demand to be used, but the user guide remains absent: props, a stage and actors, but no script. In Leila Niederberger’s work, the airy and clinical ambiance reminds us of the economy of means of a place made to trigger a feeling of seren...