Without Interpretation: About Autohomophobia and Other Insecurities

Three silent screens, three fixed camera angles inside the same abandoned factory.
On the concrete floor a naked body drags itself forward, knees scraping, head low, as if any sound might betray it. The figure slips from one screen to the next, always trying to outrun something we never see.

Then a hard cut: the same body, armoured now in black leather, balanced on impossible heels, a whip snapping the air. This second self strides through the same space with furious precision, hunting the first. Both versions loop across the triptych, forever chasing, never touching—one all exposed nerve-endings, the other all revenge.

In front of the screens a single microphone waits. Visitors lean in, confess, judge, whisper. Their words are captured, spliced, and fed straight back into the room—fifteen voices layering, arguing, echoing the battle on-screen. The installation’s software (Max/MSP and Arduino) runs the mix live, so the soundtrack is never the same twice.

“Without Interpretation” turns the audience into accomplice and witness, asking how often we police ourselves before the world ever has to. It is a portrait of self-censorship made visible: two halves of one life, locked in a standoff that can’t end until the noise dies down and the screens go dark.

The project was realized with the support of L'atelier des artistes en exil and the endowment fund for contemporary art Marie-Thérèse Allier.

It was exhibited at the Cité internationale des arts in Paris, France 2020.

Provence Art Contemporain, Marseille, 2024.