L’artisanat face à l’industrialisation obsolète, par Nicolas Bourriaud

We are at a point now where we would like to merge the old static based performances with the noise based performances and develop some discreet new elements to them. Since we both live in different countries, the residency would allow us first of all two months of neverending rehearsal which would be a grand (…)

Des «faire» et dé-ranger, par Arthur Tramier

But for a year we’ve started to develop the Air Tonalities series in which we investigate air as a creative medium, deconstructing the service workers’ voice, making our own dysfunctional ceramic instruments and soldering DIY electronic instruments in our costumes (…)

Trapped in this plane with you, by Catherine Guesde

Air tonalities has become a noise based performance series, in which the two air hostesses chaotically record and loop layers of sounds; the breaking of handmade ceramic perfume bottles, the noisy sound when one of the hostesses turns.
Besides being an artist duo, we are unemployed air hostesses, wearing our self-made uniforms while being permanently off-duty.
In this performance based project we unfold the figure of the service worker and the ways in which she can retire from duty. This withdrawal from duty signifies a broader resistance towards the historical interweaving of gender and labor, and specifically the mystification of the female sexe for commercial purposes.

s such, we have reconfigured the figure of the air hostess into a concept for Hosting Air. – Hosting clear skies and empty spaces – To consolidate our withdrawal from the labor market, we speculate on the concept of hosting through performances. And since the absence of duties has rendered us useless, we find ourselves wondering: what does it mean to perform? How can we perform without providing a service? Our answer is to provide critical non-services ; volunteering as fountains for large corporate buildings (Het Resort,NL), wandering the lobby (Palais de Tokyo,FR), practicing tango (Macao, IT), playing silent instrument (PuntWG, NL) and parading the service worker body (Sint Jansklooster, NL).
Your open call in which you link the crisis of the imagination with critical walking practices really speaks to us. We’ve often used wandering and roaming as a mode to escape the demands of a high performance society. In our works we’ve integrated these practices by leaving an exhibition place mid-performance to follow a pack of wandering male ducks outside (Het Nieuwe Instituut), or in our three day non-service to the Palais de Tokyo wandering their halls and peeing in the empty basin of their fountain every morning.

In our practice the criticality of walking lies in the walking away, in the emancipatory act of resigning, quitting, and withdrawing from the pressure to perform. We’ve picked up our uniforms at first to look at lethargy and withdrawal as possible modes of creativity, our performances were static, monumental and deeply avoidant. But for a year we’ve started to develop the Air Tonalities series in which we investigate air as a creative medium, deconstructing the service workers’ voice, making our own dysfunctional ceramic instruments and soldering DIY electronic instruments in our costumes.
In our practice the criticality of walking lies in the walking away, in the emancipatory act of resigning, quitting, and withdrawing from the pressure to perform. We’ve picked up our uniforms at first to look at lethargy and withdrawal as possible modes of creativity, our performances were static, monumental and deeply avoidant. But for a year we’ve started to develop the Air Tonalities series in which we investigate air as a creative medium, deconstructing the service workers’ voice, making our own dysfunctional ceramic instruments and soldering DIY electronic instruments in our costumes.
In our practice the criticality of walking lies in the walking away, in the emancipatory act of resigning, quitting, and withdrawing from the pressure to perform. We’ve picked up our uniforms at first to look at lethargy and withdrawal as possible modes of creativity, our performances were static, monumental and deeply avoidant. But for a year we’ve started to develop the Air Tonalities

In our practice the criticality of walking lies in the walking away, in the emancipatory act of resigning, quitting, and withdrawing from the pressure to perform. We’ve picked up our uniforms at first to look at lethargy and withdrawal as possible modes of creativity, our performances were static, monumental and deeply avoidant. But for a year we’ve started to develop the Air Tonalities series in which we investigate air as a creative medium, deconstructing the service workers’ voice, making our own dysfunctional