Source: http://www.flickr.com/photos/jimitri/2983328452/
Jacob Wren challenges you to read the first degree, while the mode is definitely the irony. Among his fifty theatrical proposals, listed in engineering other , contemplate the one where he describes a scene overrun with old lint. We loved them too, they lack legs, eyes, ears, fill them out by white holes unexpected time, all kinds of friction and have evidence of insipid love their bright colors: they were dragged to the ground, trampled, hugs, they were covered with slime, juice, mud. You're not even a director and you're already reject this vision, categorized ideas too naive, too direct, though, you can not really do that. It is not enough looking. Or you can see in retrospect the concept of an important art critic, as Nicolas Bourriaud author Radicant , and say, as museum installations about contemporary young artists, that these piles of stuffed animals dolls and end of life reflect and parody the market of consumer goods, their numbers too huge for one can input all, refers to the confusion felt in a big city, or on the internet or it diverts the scene normal life cycle of these objects of manufacture to the trash, it offers them a second life, that one value subversive. One would partially right. But we still spend next to what they are essential, these discarded toys, stacked like the dump. They represent, they are childhood over, over and ruined every viewer, they are losing the innocence of our children to us. Why do children in this world of shit? What could an actor in such a context? Which scenario would deploy there? What is, who would be overkill ?
Bourriaud, Nicolas, Radicant , Denoël
Wren, Jacob other Engineering, The Quartanier
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