1.0wpZimmerhttps://wpzimmer.spot-digital.co/en/wpZimmerhttps://wpzimmer.spot-digital.co/en/rich600338<blockquote class="wp-embedded-content" data-secret="EKEaw6EnbX"><a href="https://wpzimmer.spot-digital.co/en/projects/corps-de-ballet/">Corps de Ballet</a></blockquote><iframe sandbox="allow-scripts" security="restricted" src="https://wpzimmer.spot-digital.co/en/projects/corps-de-ballet/embed/#?secret=EKEaw6EnbX" width="600" height="338" title="“Corps de Ballet” — wpZimmer" data-secret="EKEaw6EnbX" frameborder="0" marginwidth="0" marginheight="0" scrolling="no" class="wp-embedded-content"></iframe><script> /*! This file is auto-generated */ !function(d,l){"use strict";l.querySelector&&d.addEventListener&&"undefined"!=typeof URL&&(d.wp=d.wp||{},d.wp.receiveEmbedMessage||(d.wp.receiveEmbedMessage=function(e){var t=e.data;if((t||t.secret||t.message||t.value)&&!/[^a-zA-Z0-9]/.test(t.secret)){for(var s,r,n,a=l.querySelectorAll('iframe[data-secret="'+t.secret+'"]'),o=l.querySelectorAll('blockquote[data-secret="'+t.secret+'"]'),c=new RegExp("^https?:$","i"),i=0;i<o.length;i++)o[i].style.display="none";for(i=0;i<a.length;i++)s=a[i],e.source===s.contentWindow&&(s.removeAttribute("style"),"height"===t.message?(1e3<(r=parseInt(t.value,10))?r=1e3:~~r<200&&(r=200),s.height=r):"link"===t.message&&(r=new URL(s.getAttribute("src")),n=new URL(t.value),c.test(n.protocol))&&n.host===r.host&&l.activeElement===s&&(d.top.location.href=t.value))}},d.addEventListener("message",d.wp.receiveEmbedMessage,!1),l.addEventListener("DOMContentLoaded",function(){for(var e,t,s=l.querySelectorAll("iframe.wp-embedded-content"),r=0;r<s.length;r++)(t=(e=s[r]).getAttribute("data-secret"))||(t=Math.random().toString(36).substring(2,12),e.src+="#?secret="+t,e.setAttribute("data-secret",t)),e.contentWindow.postMessage({message:"ready",secret:t},"*")},!1)))}(window,document); </script> https://wpzimmer.spot-digital.co/wp-content/uploads/Corps-de-Ballet.jpg200201In Corps de ballet, Noé Soulier uses the vocabulary of classical ballet to make apparent its inner organization. He draws on several analyses that he unfolds spatially and temporally. By playing in the interstices, he unsettles our expectations and captures what remains usually in the background: the way the dancers approach the movement, the intimacy […]