The three nouns invoked to name this choreographic triad - Landscapes, Machines and Animals - make up a network of mutually implicated entities. The hybridisation of these spheres was previously explored in IO, with the machination of the animal, and in Neve, with the landscaping of the machine. The animalisation of the landscape remains to be explored in Distante.

We start from these themes brought up by Né Barros, and, for the piece Distante, from fencing, thinking about the two-dimensionality of the practice, the character of the game and its evolutionary meanings, as well as some themes of interest to us, in the form of speculation about a futuristic techno-dystopian imaginary. Taking advantage of the dynamics of fencing, we created a baseline materialised in blocks of compacted aluminium waste. To raise them in height, we proposed mobile and articulated trestles. The effect of light on the irregular surfaces of the blocks interested us from the outset, as did their visceral appearance. The design of the trestles served as a pretext for yet another zoomorphic allusion: by simply angling the metal profiles used for the legs, it was possible to give them an appearance that was both animal and robotic.

The set designed for Distante highlights the animalisation of the landscape through a zoomorphic horizon. The background mirrors the visceral relations of a metallic metabolism, belonging to another time scale than the animal one. The geological times necessary for mineral genesis are expressed in the recesses of the aluminium blocks, which arise from a great force of compression, as in the metamorphic and sedimentary processes.