Since the performance of Shazam !, Philippe Decouflé and the compagnie DCA have developped stage effects based on optical illusions built with a simple yet clever technology : plays on perspective, on shadows, use of live video, mirror images... During their world tours, they came up with the idea of building playful installations intended for the audience to try themselves. From small optical illusions to monumental installations, from contemporary art to fairground in and out stands, this numbered installations called «The Opticons» is constantly evolving, transforming and multiplying...
COLLECTIVE PROJECT BASED ON AN ORIGINAL IDEA BY
PATRICE BESOMBES, PHILIPPE DECOUFLÉ, AURÉLIA MICHELIN, LAURENT RADANOVIC, CHRISTOPHE SALENGRO, OLIVIER SIMOLA, GUILLAUME TROUBLÉ, PIERRE-JEAN VERBRAEKEN
Coproduction Parc et Grande Halle de la Villette, Maison des Arts of Créteil
With the support of la Région IIe-de-France
Decouflé is the consummate illusionist of his early days. A definite must-see!
Télérama, July 2012
It's now five years since the choreographer, supported by his historic dream team (...), has been working on the exhibition. Comprising around a dozen installations, this fun, interactive composition fragments and redistributes the obsessions of Philippe Decouflé like a kaleidoscope, with shadow play, mutations of the body and other optical illusions that are the hallmark of this choreographer-cum-mime-cum-circus-artist. (...) Exploring and living, testing and contemplating, playing out and dreaming, Opticon unfurls the accordion, which Decouflé handles with dexterity.
Le Monde, June 2012
Decouflé generously allows us to 'go behind the scenes and 'discover the trade secrets developed over years of touring'. For the entire 'unmarked' circuit, composed of more than a dozen interactive installations, the visitor is invited to try out machines where 'gestures metamorphose into delightful, stunning, if not plain demented, art works'.
Arts magazine, June 2012
Opticon employs video effects, shadow play, opening up interactive spaces to draw the visitor into the phantasmagorical world of the choreographer. (...) In game play involving the real and the virtual, the body finds its place: never engulfed by the image, always at the front of the stage.
Danser, May-June 2012
An exhibition conceived as a game, enabling everyone to enter the inventive, off-beat universe of the artist. Great fun!
Toutelaculture.com, July 2012