A record of memory and resistance etched by the body in the ruins of a post-industrial city

<900 Something Days Spent in the XXth Century> begins with a gaze upon the remnants left behind in post-industrial cities. The spaces where the performance takes place were not originally designed for dance. They are traces of what used to be industrial infrastructure—once symbols of progress, now part of a disoriented urban transport network. Upon these ruins, Némo Flouret unfolds a space of reflection for collective imagination. The performers leave physical traces with their bodies, as if negotiating with the remains of the urban structures left behind.

The movements may appear to pursue practical objectives on the surface, but the journey is always crooked and askew. Instead of heading toward a goal, they wander, and stray—marking the space in ways that deviate from the order of everyday life. For instance, even when tasked with connecting two ends of a space with a pulley, the movements do not proceed directly. They repeatedly veer off course, stop, turn around, puke out, laugh… and eventually fully embody the space.

Set to the rapid beat of Eurodance, Némo Flouret tries to recreate the excessive and frenetic language of French writer Aurélien Bellanger through the body. These movements are not mere gestures, but a confession and resistance of the body as it traverses between progress and decline, and acceleration and obsolescence.

Ultimately, <900 Something Days Spent in the XXth Century> circles back to one central question: Where are we now? Are we still dreaming of the future, or are we wandering through the illusions of a bygone era? With that, the performance invites us to reimagine landscapes we have long forgotten.