Dvnes: La Désertrice

She falls, she keeps falling, on pieces of glass, suspended by two thin sheets from the feet, she keeps dancing in every city she goes. Fracturing through the body, revealing things for herself, watching things she shouldn't be able to do. She paints with fragile materials. Paper, wax, fabric, and organic matter, she builds environments that are meant to deteriorate during the performance itself.

Such as she does, cutting her legs on stage burning the body divine with an iron. Sensory saturation. Flash chantier lights in the ashes, dark soundscapes, shit smells, rather than presenting an image like a master degree student competing, she produces unproductiveness. She burns not just the stage but herself with it. Performances of nightmare, her nightmares, become real.

She's not from an academic background, but from a scientific standpoint.Where no one invited her to be true.

Yet she's engaged to art, she's the bride of solitude, Dragon of the Night, rotting on the top floor of a cheap chinese motel alone.

What belongs more in the world, than the outcast ?

她一次又一次墜落，破碎的玻璃之中，她的雙腳懸吊於兩片薄板，在她所到的每一座城市，她持續跳舞。刺穿身體，揭開自身某物，凝視著那些她本不該能做到的事。她用脆弱的材料作畫。紙、蠟、布、有機物——她建造那些註定在表演過程中崩壞的環境。

如同她所做的那樣：在舞台上割裂雙腿，用熨斗灼燒那神聖的身體。感官的飽和。灰燼中閃爍著施工燈，黑暗的聲景，排泄物的氣味——與其呈現像碩士生競爭般的畫面，她生產人們眼中的非生產性、無價值的一切。她焚燒的不只是舞台，更是自己。那些夢魘般的表演；那些成為現實的、她的夢魘。

她並非來自學術背景，而是來自科學的視角。在那裡，沒有人要求她展現真實一面。然而她已與藝術結合，她是孤獨的新娘，夜行的龍，獨自在一間廉價的中國旅館頂樓腐爛。

還有什麼，比被遺棄之人，更屬於這個世界？

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