This performance is developed and presented in collaboration with Kama La Mackerel and Yanik Savoie. At the Limit of the Otherworldly, Limit of the World is the second chapter of The Sacred, Without World. First initiated at the MAH in Geneva, the project shifts here into a more open and public configuration at Fonderie Darling, where the distance between stage and audience becomes unstable.

The three performers work as a fluid ensemble, sharing text, movement, and vocal presence. The piece moves through writings, treating them less as readings than as materials to circulate across bodies and voices. Fragments pass from one performer to another, sometimes spoken clearly, sometimes translated, interrupted, distorted, or layered.

Language appears here as a charged and unstable matter. Spanish, French, English, and hybrid forms coexist without resolution, pressing against the hierarchies that separate mother tongue, learned language, and dominant language. Error, slippage, and code-switching become part of the composition.

A recurring jaguar figure appeared again in this second act, extending a character introduced earlier in the research. The jaguar operated as a transitional presence between human and animal, ritual and play. Alongside it, the group explored gender fluidity and non-binary embodiment. The spatial setup included a temporarily installed stage and a dispersed arrangement of performers and spectators. The idea of a “deployed library” informed the structure: texts were activated physically and collectively.

At the Limit of the Otherworldly, Limit of the World continues this research through a more exposed environment, where language, body, and memory remain entangled under the pressures of migration, colonial history, and linguistic displacement.