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Title: Come Out to Show them

Duration: 25’

musicians: Nora Haddad & Clara Aguilar

Sound concept: Nora Haddad

Visual concept and design: Gala Seguí

Video and projections: Alba Cros





Come Out to Show Them is a multidisciplinary performance that takes as the reference point the existing Come Out, from Steve Reich (1989). Reich defends the racial difficulties in the 90's US with a minimalist and experimental piece. The author uses the sound repetition of the words and of instruments as a nuclear tool in all of his work. This reiteration generates a slow beat inviting the audience into a resounding journey that builds by constantly dismantling and mutating.


Slightly detached from the implicit political background in Reich's work, we focus on the social fabric to use it an activist platform from which to reflect about the paradigm of desire and consumerism we are all subdued. Our proposal aims to question the limits between consumer and the object of consumption and the hierarchies established in this transaction. The appearance, the acting out and making believe. There's no place for anything non-advertising. Who watches and who's being watched? Who commercializes who? Searching for the answer to this question, the audience is lured into the play, becoming an active agent of this experience. Come Out to Show Them, talks directly to those Them and looks for this Come Out.





The piece is created as a brief display. Its rectangular structure is completely transparent, except for the background, which, as a glass cabinet, exposes the goods to be sold, being the artists of the audience itself the commercialized bodies or objects. Following the basic rules of window displaying, there's a powerful and attractive lighting, designed to arise desire of any eyes. Two led squares frame the artists and focus the audience's attention. The spectator's look is the key give sense to the proposal, emphasizing the glass box, the confinement and desire emotions. This autonomous structure can be placed both in interior and exterior sets, although we strongly suggest to place it in the street, as it would most appeal to the daily experience of acquiring and to the act of searching.


Finally, as a means to fully integrate the audience into the piece, right at the end of the show the lights go off and stolen images of spectators will be projected. At all times their reactions, looks and talks will be recorded and will be shown on the structure, making clear that they are being consumed and showing their way to consume this experience even at a technological level: the irremediable thirst to expose it and to become public in all senses of the expression.

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