Barretta Pigeon Reviews

Theft hopes

"Flying" paintings with images suspended in space with a white frame is a Ilya and proposed new Emila Kabakov that beyond a formal question us on the below images ...

First in first instance, what brand are the images we show Ilya and Emilia Kabakov, images that speak for a land of plenty, where everything seems calm, happiness and abundance ...
A choice of subjects, peasants, workers in their work, happy faces, descriptions of a glorious world ... image of an idyllic world where finally the world would be perfect and that there would be no need to escape, to fly ... This déjà vu refers to another reality ...
A certain aesthetic vocabulary specific so-called Socialist Realism defined as when the First Congress of Soviet Writers, which was held in Moscow in August 1934

"A truthful and historically concrete representation of reality in its revolutionary development. In particular it must contribute to the transformation of the ideological education of workers in the spirit of socialism. "

This definition of what should be the socialist art had consequences that we know, at first to acknowledge in particular the avant-garde Russian petit-bourgeois formalism, to subject art for political purposes, to exploit. The result was to deploy a soothing artistic production, frozen in the canons enacted by the totalitarian regime that was Stalin's USSR ... Ilya and Emilia
Kababov thus appropriate this imagery. Important detail, Ilya Kabakov, Young was forged in the ideological mold and was artist status in the USSR for many years ...

But back to the paintings in this series, these images float
then, but not only. Some of them are truncated beyond the scope, others overlap, So where are deformed, placed upside down. The Kabakov put us immediately in a conflict of scrutiny. First of all this fragmentation, this slip out of context for some, these overlays and the anamorphic ...

"Flying"

Our position viewer requires us to try to guess what disappears, what is hidden to us to break the blow to redress these anamorphic or see the location of these images.

A certain relationship with cinema is also involved in this series. This shift, these hidden parts can assimilate an off-screen, or when a change of plan or even a fade. The white background of the canvas becomes the screen on which images come and go ...
For these large white areas, they push even further the process already used in the series "Under the Snow"

" Under the Snow "

" Under the Snow "was still the paintings 'realistic' in the sense that the images appeared behind the snow, part of nature. In "Flying," there is a confrontation of realism to abstraction. These floating images can be viewed as playing with geometric shapes, can be read as constructivist paintings. These paintings relate directly to Malevich.

"Pictorial Realism of a boy with a backpack


Malevich Malevich, the Constructivists, Futurists, the Suprematists, Vertov and the Kino-Pravda projetèrent that their hopes of transforming art, world, life, through the revolution of 1917 ... The

Kabakov we reassign the fate of this avant-garde. Vanguard méconnurent they banned because it was the system of arts education in the USSR ...
They confront us, therefore, part of the history of Russian art but also to the revolutionary hopes and terrible disillusionment that followed.




"Flying"


By choosing that revisits some cliches, lithographs of Socialist Realism in painting, Kabakov also raise the question of the current status of the image ...
These images of paintings that appear to going beyond the scope of this screen what the white background of the canvas, the images that mask or cover for others as fire ...
Would it not interchangeable flow of images that scroll across our screens ...



Deformations, anamorphic ...
note, an image can lead to another, seem to tell us Ilya and Emilia Kabakov ...


ILYA & Emilia Kabakov
FLYING THE PAINTINGS (flying tables)
MARCH 17 - April 17, 2010
Gallery Thaddeus Ropac
Debelleyme75003 Paris 7 Rue

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Autoconsumation

Waltzes caddies, and Wheelchair percussions barrels, boots pounding the martial rifles rotary drills panicked, hoquètent cars, neon subsidence
... So many aspects of proposals and harmless invitation to play ...
But if the most everyday objects of our environment became autonomous , were happening to us? And if these games were our innocent nightmare?

So with Delphine Reist, we enter a world of crazy objects to autonomous mechanical and uncontrollable ... liabilities facing them, the mastery of these elusive objects, they do not meet our orders, they play in our control their enthusiasms, their random set in motion ... we are not excluded but placed as a fait accompli face these mechanical drift inconsistent in their behavior, like drunken boat ... There appears to be very soon the political dimension of the works of Delphine Reist which takes us first to sense a revolt of the objects we produce ... Should we see a metaphorical reading of the panic of our world, dropped in a free wheel without a pilot in the plane? The world of JG Ballard is not far either, prostheses attached to our bodies and makes us slaves. March in step as these rubber boots that come alive only on military tunes ...

http://video.fc2.com/content.php?kobj_up_id=20080603uNaLGweK

Innocence? anymore.
The choice of places, most often brownfields, parking lots, places a priority non-institutionalized or a gallery space is also involved because the objects animated face walls, walls of the institution? The intention is to cover everyone, to seek an audience that are not "happy few". The purpose is not to judge the effectiveness or not but try to meet in what terms and how his approach is political.

Delphine Reist

The first evidence that strikes the mind and eyes to work and taking part triturating manufactured objects such as tools or utensils usual, these are obvious affiliations with Marcel Duchamp and his readymades. At its single machine as a concept that fueled the Dada movement with these series of mechanisms in search of a perpetual motion impossible, a senseless quest to limit the absurd ... with Picabia's "Girl born without a mother" for example ... Roman Signer Tinguely are also nearby.

"Recording surfaces, bodies without organs (...) is essentially the establishment of an enchanted area of registration or registration who takes all the productive forces and production organization, and acts as a quasi-cause in them of the apparent motion, " this is the definition that gives Deleuze and Guattari single machine.

"Girl born without a mother" Francis Picabia


Machine single call for a form of eroticism mechanized, as there is some relation to the death in the devices of Jean Tinguely, "a tribute to New York" is exemplary in this sense, equipment which will go to its self-destruction by a series of events chain ... McLuhan raised the theory that we are like bees to the flowers that the genitalia of objects ... This idea joins the concept of this single machine that self-eroticizes.

Delphine Reist


This strong erotic potential and obituary them links between eroticism and death are no longer in doubt, take its place among Delphine Reist, in all the important work it undertakes on fluids too.
fluids, such as seminal fluids, as fluid flow, exchange or closed ...
The components of these fluids by Delphine Reist are most usually oil drain. Materials recycled-goods ad libitum, which shows Delphine Reist Policy fluids as a metaphor for the movement of goods often manufactured in factories relocated, hence also the insistence of exhibit Delphine Reist in brownfield places symbolic of an industry ... late

Delphine Reist

"The wealth of societies in which reigns the capitalist mode of production itself as an immense accumulation of commodities. The analysis of the commodity, this elementary form of wealth, will therefore be the starting point of our research, "Karl Marx

goods, objects, fluids, circulation ... It is not far from the work of a Gianni Motti when it plays on the notion of use value and value exchange with banknotes. It sets out how our consumption, money, virtual fluid often fetishized and also in the galleries ...



Gianni Motti

Delphine Reist speaks in its own way of fetishization of the commodity , the erotic impulse that seizes us deal with things ... But a morbid impulse, an eroticism without object, without pleasure masturbation, quasi-officer ... The great strength of liberalism is to play and create frustration its mode of operation conditions for eroticism onanisée, reified and lonely. Finally, these caddies, these chairs are agitated, we show the emptiness of this economic system ... but also points our absence. And it proposes a political resistance in his works.

Delphine Reist

No human presence in Delphine Reist. This presence-absence haunts all his work, the emptiness of a brownfield, as an empty chair work Delphine Reist dig the metaphor of the absent body, a body whose only remaining implants, a désérotisé body, a body deprived ...
Delphine Reist we ask the question: what are these machines singles, merchandise or us?

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Running on ...

speaking with great fun and derision, Jordi Colomer depicts characters facing situations tragicomic which question the relationship we have with our environment.


Jordi Colomer is a Catalan artist, who through his installations, videos and pictures probe the notion of space in our environment. It places particular emphasis on the perception of this space, that environment. It thus implements a mechanism for focusing particularly on the latter. On the other hand, the influence of cinema occupies a major part in its work.

"As regards architecture, habit determines to a large extent even optical reception"
Walter Benjamin in The Work of Art in the Age of Mechanical Reproduction

"Anarchitekton" Barcelona



In "Anarchitekton", a character with no short apparent purpose, it passes through the urban landscapes of major cities around the world, holding at arm's length such banners, reproducing in miniature models of buildings belonging to the setting in which the character evolves
Race ridiculous where the character wields as much as 'flags to build our vanity. Models in boxes that recall the architectural models but also the fragility and precariousness of any building
human race ... or pathetic demonstration desperate to make a real awareness of our environment? Through this character
agitated, leading what Colomer serves as the backdrop for our daily actions. It draws our attention to what surrounds us and we do not see or that we no longer see, lost in our eyes distracted.
For that, he plays a different scale, we focus on these banners because, paradoxically, these selected pieces of architecture attract their share of cuts and their confrontations with the original models.
The use of models also refers to the movies, the sets of boxes, pasta, big studios like Cinecitta or Babelsberg. Deformations of these models refer to the imperfect Expressionist cinema and unstructured settings, "the Office of Dr. Caligari, "for example ...





"The Cabinet of Dr. Caligari"



In the video "Jordiciudades" quote from Harold Lloyd film "Get on it," a woman hanging on a ledge located on a wall trying to reach an open window. A background in diving, moving set of a megalopolis treated animation is evolving second by second throughout the duration of the video.

Harold Lloyd in "Safety last"


Colomer still poses the problem of focus.
In fact, this video offers us two versions simultaneously and split-screen action. In one, the woman reached the window, in the other it falls into the void. Colomer plays the multiplicity of viewpoints; difficult to embrace the light and follow a single glance the two versions, too difficult to follow the evolution of the city in the background. Our view is unbalanced, lost in the multiplicity of events to follow.

"In the Pampa" Jordi Colomer



metaphor perhaps a deeper imbalance on our benchmarks delivered profligacy of cities with more and more mutations, transformation , more and more sprawling ...

Babel Kamer "refers to his performance as the same issues.
Two women, one Walloon and one Flemish are sitting opposite one another inside a trailer located in the shopping arcade of a hypermarket. Above each of the two women, two screens simulcast "The Dawn" by Murnau. A dialogue between them. A special dialogue. They begin a dialogue from the film in sign language each in their respective languages, Flemish and Walloon. The debate was broadcast on two monitors with sub-titles in French and Flemish.






Multiplicity of languages, translation problems: transcription gestures, shifts, subtitles in French and Flemish inevitably recall the biblical story of the Tower of Babel and the human vanity to build still more. This facility also brings us back to the same problem of focus, choices in "Jordiciudades"
A double reference to German expressionism: first with the choice of the film "L'Aurore" the last great silent films and the title of the installation "Kamer Babel," which refers to the studios "Babelsberg" but also Kammerspiel (Theatre Room) by Max Reinhard, but also on the side of the messianic and expressionist double attraction and repulsion for cities.

"On the Pampas", another video is treated as a road movie.
A man and a woman. Their unlikely meeting in a desert. They decide to walk together.
Estate sequences without pre-established order, separate sequences on both media, differentiated, each sequence is an autonomous entity. Jordi Colomer bursts of narration, the reading, giving free rein to play the spectator.
They met on a paved road crossing a pampa, the place is so deserted, traces of occupancy, sign,
The man and woman engage in a dialogue form of small talk, the camera on the leaves away a road receding in the distance. The pampas

becomes vacant lot into a playground where there are bullets, tire, ridiculous waste of our society, neglected, both the characters reappropriate. Share child who gets over ...
car wash in front of a cemetery made of odds and ends.
cemetery, tombs, mausoleums skeleton made of planks of recovery, stick, windswept seems barely stand in the arid and dusty minerality.


"In the Pampa" Jordi Colomer

cleaning a car in this world of dust, absurdity of the situation that reminds us of our condition and treatment that we inflict on the planet; The cemetery where the car and eventually where will the two characters ... Most of these scenes are filmed in long clips to executives cared ...


In "Father coconut", a man, apparently a tramp, picking up various objects found in the fortunes of a Urban and nocturnal wandering. He carries a large bag, evoking the figure of Father Christmas.

"Father coco" Jordi Colomer


The image of this deliberately degraded video is reminiscent of the surveillance cameras where each of our travel is monitored, recorded in the urban universe in which we live. Against "In the Pampa" consists of footage, editing proceeds here in jump-cut that adds to the bitterness of the video. Again Jordi Colomer exploits the possibilities offered him the film.
"Father coco" also refers to this sequence "In the Pampa" in which man and woman playing with objects lying around the desert ... almost similar situations, urban spaces are deserted as is apparently the Pampas.



"In the Pampa" Jordi Colomer


Again, this quest objects brings us back to our ridiculous, urban wandering and wandering in the desert are also an ironic critique of surrealism like this quote from Guy Debord Jordi Colomer rehearsed like a litany to his male character from "In the Pampa" in a sequence where ridiculous, he's carrying a tree in the desert.

"Wandering in open country is naturally depressing, and the interventions of chance are poorer than ever"

Colomer's characters would not they kind of Conrad Veidt Modern Comedy (de) owned, disjointed, launched in frantic races they no longer control? Characters in our image launched into the absurd, blind to our world ...

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AN ARCHAEOLOGY OF INTIMATE

hand squeezes handful striker. Gradually, under the blows, the tool emerges from flint, a biface. This same hand will come later drop his mark on the walls of a cave.
What remains about those men, those actions essential? Tools, bones, paintings ...
Keren Benbenisty appropriates and reinterprets these traces of the past


What needs, what deeply buried desires of man meets the infancy of art dated by archaeologists the Paleolithic era. In this burgeoning art attributed religious functions, magical or shamanistic, but also aesthetic pleasure ... interpretations remain open, with no definite answers ...
Why not consider, so perhaps fanciful in relation to science, these paintings, drawings and sculpture as one of the first claims of man in his environment and as a premise to its autonomy.
Could be interpreted and applied the hand, silhouetted by the light of a spark, a woman or a man, whom we know nothing today. A hand that reminds us of its existence for thousands of years later, the bottom of that cave in all its fragile and precarious humility ...

Similarly, Keren Benbenisty affix signs ... For the imposition of his fingers, specifically fingerprint ...
This repeated application on the white surface, emerging forms. Skulls, bones, faces come under the imprint of fingers raised tirelessly on paper. Keren Benbenisty becomes custodian of this so-distant past, set in its versions by this testamentary act.
It also engages with the economy of means which existed in the Paleolithic.
As pigments, the ink material of choice in Keren Benbenisty.
It is also used as a fluid antecedent in videos like "Love Will Tear Us Apart" or "Blue tree".
The use of ink as a subject also brings us back to our contemporary heir to an ancient civilization built on the writing ...
Video, medium cool, high tech comes to counterpoint to these surfaces inked manually processed in Blender, but does not object. The texture of the image pixelated video meets the images constructed by the multiplication of impressions that act also as many pixels ...
It devolves, somehow, to clarify the role this gallery of skulls, bones, bifaces as the home encouraged the precarious path of the first cave paintings.


"Skull" Keren Benbenisty


Benbenisty Keren's work is not content to be an evocation, a formal game on archeology that de-fossilized, it de- senfouit of the past distance.

This suite of skulls, figures, drawn face and profile, evokes first the museum where the relics of prehistory ... Evokes the course of art history, the tradition of "vanity" portraiture.




Venus of Willendorf "


course, throughout this gallery, we obviously thinks Holbein to Goya, nearby but more subterranean, more subtle with Yves Klein is slipping in this series, including "anthropomorphic" which refer to mother goddesses. In Keren Benbenisty, minimizes the footprint is and does not encompass the entire body, it's just the tip of his finger tip. Keren
Benbenisty thus relates to the artists 'body'

His work also engages us on the path of anthropometry police, who by his series of faces, fingerprints its class, lists, identifies regarding the identity of a person. These fingerprints
multiplied, mantras cantillées to infinity, by Keren Benbenisty refer to this notion of identity. Nothing is more personal because the fingerprint of an individual. This repetition acts as many signatures, assertiveness ... Keren Benbenisty by this act of affixing we share a book and share her intimate, her body ... she recorded in indelible ink the time ... ... But


can a body alone? Without the emergence of what he envisaged two? The work of Keren
Benbenisty addresses this question, concerns the idea of duality.
The biface has in him those qualities of duality, this unit twice in one ... Two sides to keep a face like an impossible symmetry.
And this idea of the perfect double seems doomed to failure ...



"biface" Keren Benbenisty


The video "Peace Attack" comes to remind us. Before a background in darkness, put two matches balanced on the edge of a glass burn at both ends. The two flames gradually approach one another, progressing to "jump cut" punctuated by a soundtrack ... game where each child advance in putting one foot before the other or rather duels, fights delimited by the circumference of the glass. One of the matches fall into the bottom of the glass causing another in the fall ...
Duel game, but also embrace, mating, entwined the two matches, flare up, burn their passion and devote themselves to their loss ... The incandescent
fusional choît into thin curls smoke ...
In "Favorite Nightmare", a merger between two equally impossible light sources. One is electric, the other comes from the flame of a candle ... The background is very dark, indistinct. The filament is mingled with fire: they seem in perfect communion. But this union is soon interrrompue by heterogeneity their nature, the flame burns slowly and swaying. The bulb lights up, turns off abruptly ... So close and yet so far ...

The biface seems the only time they can bring him in this state of perfect communion because of its inherently dual conflict in him are resolved, two is one. But its nature and its use is itself ambivalent tool, slice it, he takes off, it subtracts ... It kills.

A path leads inexorably to the darkness of the cave into the light ...
A path that leads to this almost Vincienne ambiguous sweetness of death ... Where do resist that the skulls and bones ... Who then emerge into the dazzling whiteness of the surface ...

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Exile home

Oscillating between intimate and documentary photographs from the series Belarus Back express the unknown with great accuracy and a sense of shame felt by Kirill Smolyakov exile, Belarusian young photographer living in the United States in recent years.

"I could not return to Belarus for three years. I was a man without a country and without family. I felt like I had lost my roots ... Last summer I returned home and I realized I do not belong to her more, I returned to the unknown ... "
" I photographed people and places that I are both close but at the same time so distant today "Kirill
Smolyakov

portraits of young just emerging from adolescence, still lifes, scenes of everyday ... Simple, without dramatic, almost innocuous at first, but turning out to any carrier that distance traveled by Kirill Smolyakov.

A vision of these young people entered into the banality of their everyday, Larry Clarke comes with too much evidence in mind: a young couple lying naked in bed after making love, plunged in semi-darkness, and then another couple sitting in the backseat of a car ... even childish pouts
Same, same pale faces marked and have already experienced too.

But soon, that impression fades and gives way to melancholy, a je ne sais quoi of elegiac. Kirill Smolyakov is a look of infinite tenderness on his characters. The choice to use color plays down these portraits.
couples seem to be absent from one to the other despite the physical proximity. All eyes are elsewhere, do not intersect, is almost flee.

"Tea Break"


In "Tea Break" for example, the boy smokes a cigarette leaning against a window on campaign. His gaze wanders off. A girl passes him a cup in hand. Both eyes, their two bodies disagree.
The boy is already gone. His thoughts turned to the window on an off-field might be hope for a life elsewhere, the United States? The girl is cons-day, already a memory, it does not retain.

With "Kremlevy, a boy, shirtless, holds him tight against a girl in the back of a car. She wears a jacket too big for her. That of the boy? While huddled against each other, each is in his world, their eyes are lost once again to point out immediately in front of them. Here, unlike the "tea break", no opening to the outside.

These two photographs are answered, on one side, an opening - the window - and separation from each other, an embracing couple, but a closed world. "Kremlevy" prefigures the separation that seems to actual "Tea Break"

The intimate relationship with the subjects of these photographs is expressed by the close proximity Smolyakov that Kirill has with them. A
physical proximity, in "Tea Break", the photographer is inside the room in "Kremlevy, this is called the" place of death "it occupies.
A close relationship: friends, family? the question remains open. This close relationship also explains the relative indifference of the subjects to the photographer. This relative indifference
also creates a distancing between the photographer and his subjects. Smolyakov between Kirill and his country.

Is it her own teens not so long ago that seeks to stage the photographer? A not so distant youth: Kirill Smolyakov was born in 1983.


"Fish"


still lifes, they, refer to the daily, smoked fish, beer, black bread, milk. Children's meals, simple things, rustic. These foods are highlighted by the choice of depth of field, or transpire almost nothing of what's around. No sooner does one imagine a kitchen in one. These still lifes
also refer to feelings of lost youth, the smells of coffee, meals, family ... Functions as reminiscences ... As the remains distant memory ...

"Last summer, I returned home, and I realized I did not belong Also, I came back into the unknown. Now I realize that this is all part of my choice "

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Something in us

With "Violent Days", a film about the origins of rock fans, Lucile Chaufour delivers a superb first feature film that flirts with ease with the boundaries between fiction and documentary.

A Wurlitzer launches " Rock Around the Clock, "the Cadillac of gleaming chrome backpack girls whose dresses blossom petals in every dance step, bewitched by the swaying of the King ... A youth in search of movement, energy, happiness and carelessness ... End of the fifties, the American myth is at its peak ... Marylin rivals Jane Mansfield ... Everything seems to be frozen in an eternal recklessness ... "Happy Days" this time wrapped in the sweet dream of an America that has never existed ... because the "rock" was originally a revolt ...

Changing times, changing places: the Wurlitzer is a distant echo, the 2000s, an apartment in the Paris suburbs, three boys and a girl hair peroxide are on the verge of a rock concert in Le Havre. The bodies of beer cans piled on the kitchen table. Behind the scenes ... We are far from happy days yet "Violent Days" tells of this idyllic fantasy of an America ... In this mythic world pulsated with music that would soon spread and have a youth eager for excitement on either side of the Atlantic .... First rock n'roll therefore not any: the origins of the King was playing before his military service in Germany, one of Gene Vincent, Eddie Cochran, a rock rebel, sexual ... A rock that still listen only a handful of fans called: Rockers, Teddy Boys, Rockab's Black Panthers ... Identification dress, looking for objects "Vintage" old "American" running around between two public housing. So a handful of fans, some were not yet born when their numbers idols were silent for ever, to replay the movie from a bygone era ... "My father's name was Cochran died the day I was born," sang Starshooter.

Who are they? Why the nostalgia? In his film, Chaufour Lucille tries to provide answers, and most are small working-class whites, workers, unemployed, few are immune to the world around them: it is the factory for the luckiest. So they take refuge in a "Elsewhere" fantasy ... But "Violent Days" is about more not account for these few nostalgic, the great strength of the film Lucile Chaufour is beyond this simple picture of the group and come to remind us of our own desires and also to other worlds ... The "rockers" and their passion another world that shows us Lucile Chaufour become the mirror of our own frustrations and inability at times to escape our condition, our loneliness ... "Violent Days" is a film about the imprisonment. Confinement which is embodied in the character of the peroxide-haired girl, a sublime beauty: Serena central character that opens and closes the film in two beautiful sequences. Following his characters in their journey to Le Havre, Lucile Chaufour entered his film in the tradition of "Road-movies": wandering, escape the car as a backdrop, so the movement but also the camera, gravity ...

course "Violent Days" has a close kinship with "Stranger than Paradise by Jim Jarmuch, characters almost similar: Eva and Serena, both foreign some sequences like the one where the four characters meet on the beach at Havre, which refers to that Great Lakes through the fog in "Stranger Than Paradise", the two female characters eventually take the tangent and abandon their companions while Eva will return to Europe here, Serena will melt into the ocean ... But Lucile Chaufour reads the film Jarmuch an original and intelligent, she also multiple references, "La Notte", "Stromboli," "Misfits" ... Serena to equal a Monica Vitti "Rock 'n' roll" ...

This fiction continues to be interrupted by a series of interviews with rockers. Most of these interviews are front and in opposition to the motion of fiction. This construction results in a subtle interplay between action and fictional "reality", a dialectical interplay and counterpoint is established then between the two types of images: that shows what? Who should talk about what? Fiction shows she? The interviews they comment? This device causes a suspension and we let this game take between "true" and "false" to the point of indistinctness. This dialectical game is also its strength in the choice of photography, desaturated black and white: aesthetic choice for some film, but this strange impression that black and white would do more "real." This stylization is far from futile. If this stylization asked about relations between our "real" and "fiction", as it puts the issues of the protagonists of the film that make their lives a sort of fiction. The front frames echo the interviews behind closed doors of the car. The testimonies of the interviewees also go in this direction confinement social, family (proles for the most part), confinement of the group, friends, locked in a world of illusions and that does not exist ... One of the most terrible and sequences Talking is where a Rocker, a factory direct a robotic arm and makes parts for pressing into a mold. It is this contrast between the rock of a bygone age, whose style is all outdated elegance of his despair, and this technology, high-tech image of the mold and stamps and formats ... When is it girls? Drag objects, trinkets, object of desire, dolls that are out first and then we leave home and who have little or no voice ...

Serena is the iconic image of these girls who live in this world where their dreams of little girls is to find Prince Charming. But these girls are soon to face a male environment where machismo prevails, but also frustration and violence: fighting, beer, live fast ... There misdeal and misunderstanding between men and women ... The concert sequences This beautifully illustrated three-bladed mixing energy released by the music, this world of violence and of smashes visceral where women disappear little by little ... This world finally reserved for men where women no longer find their places or very little ... The final sequence will release more circumscribed frame, just the body of Serena floating in the infinity of the ocean ... then this would be Serena Ophelia whose body would join him in the two continents, America and Europe, who finally embody the freedom that everyone expects ... Is there always something in us from Tennessee?