Thomas Puisquelaloi: In 2014, I started to reinvigorate my interest in more performative projects. I found myself busy questioning current modes of production and have since made three on-site projects (lecture/performance/event). These three projects all had in common the fact that they were an answer to an invitation and similarly were concerned with the specificities of the context they were presented in. Therefore each was working with the particular place and frame. In addition to coincidentally similar external determinates, there was also an obsessive recurrent interrogation on my part around the question of authorship, and how to think and perform the figure of the author as something paradoxically playful and distant, forcing myself and viewers to reconsider the visibility and identification of the author.
The first lecture/performance was a response to an invitation from my longtime friend and producer Camille Durif Bonis, who was himself invited by Jan Mot. The invitation was to host an evening in the frame of an exhibition titled A situation in which an argument can be discussed. My proposal tried, in a humble way, to work alongside the works of Mario Garcia Torres, Robert Morris, and Philippe Thomas, which were being shown as part of the exhibition. For my intervention, I departed from the premise of considering the format of the lecture as a performative event where content meets form. I tried to do so in a manner that blurred the clarity of the format by focusing on knowledge and information and how it is passed down when one is stimulated by a multitude of actions. The lecture went from a subtly exaggerated analytical, scientific, and artistic presentation to an abstract and sometimes completely poetic perspective on the exhibition space as a white cube and the experience of it. As it appeared in its final version, the evening could have been seen as a series of exercises investigating the format of the lecture and emphasizing its inherent performative aspect infused with what I call ghosts, as opposed to references – these ghosts being the authors and the pieces included and excluded from the exhibition that I considered to be important. In the end, the lecture performance was presented under my own name Thomas Puisquelaloi and the presentation was then performed by Camille Durif Bonis.
Thomas Puisquelaloi is a writer, theatermaker, and filmmaker who has long chosen to remain evasive concerning his biography through a project called Biographies. This project consists of obsessively transforming the space allocated for the description of a person and this person’s background into a rectangle whose size is subject to change each time it is shown, and depending on the context it is made for. He now lives and works in Mexico City.
Camille Durif Bonis is a performer and producer who has worked for people such as Xavier Le Roy, Tino Sehgal, and Trajal Harrel, collaborated several times for choreographic projects, amongst them Two possible titles: 1. Quixotic views on a fanciful critical corps behind the veil of intermediary apocryphal allusion and near the scene. 2. Intermediary apocryphal allusion with corps behind the scenery and subsidiary definitions for quixotic views on a fanciful critical self. In 2012, he started a production company and since then has supported the works of different artists, including Thomas Puisquelaloi.