Following his exclusion from the performance workshop led by Cédric Torne and Rachid Sayet, and organised within the framework of the Montpellier School of Fine Arts, the artist nonetheless carried out an action on the day of the public presentation. The action took place outside the school premises, in public space, at the margins of the institutional framework, and was later described in the text by Gérard Mayen, who writes:

“In a hubbub of glances exchanged back and forth, a crackling of significations was taking place there, overflowing beyond the sole intentions of the few performers also operating in public space. A pirate performer had also slipped in there, ‘off’. Whatever the soundness of his motivations, discussed from within, his act of uncompromising bodily engagement appeared to draw, in an almost academic manner, on the founding canons of pure and hard art performance.

Back inside, we believed we could discern another performance, discreet, scarcely identifiable, highly coded, of which we were then co-authors. Whether it was the ballet of signs of recognition, conciliable diversities, exchanges of data of all kinds and always useful, between figures more or less institutional, invited personalities and occasional visitors, improvising their circulation in a network among the crowd of significant connections colliding over the course of an event and even generating it. In our view, never too many points. Never too many.” » 1 « » 2 «