"No protocol, no experimental field, no theme to state, nor even the ability to name any, or describe their status; ultimately, even an authorized account isn't tolerated. Marie Cool activates the works, but someone else might as well do the trick.
Irrespective of whether their execution takes place in an exhibition space or on video recordings, the performative acts we're confronted with lead us to experience the concept of ownership.

In other words, these actions reveal our inability to attempt at possessing them, albeit subjecting them to our glance. The enslavement of man to objects - or just the contrary, depending on the actions - dissects the identity of their practice. The components being used are all determined by standards, industrial norms and their associated behaviors. The hierarchy between innate objects - A4 sheet, tape, wire, light - and animated object - the human being - disappears, as does as well the distinction between a given space and the action being performed therein.

However, the insertion of the poetic element, the repetition of a gesture and its strikingly slow execution break with the standards of the production system of any object whatsoever. It is as if the cycle, including the time of reception by the recipient of the object - in this case: the work - was alienated. Being exposed, these relational reflex actions give way to an experience of the present. What the onlooker experiences is the present's constant grasp with reality. A present that's no longer a representation but has become a form of analogy."

Mathilde de Croix