Nice'Prime is an expanded novel writing with four hands and one brain. In 1991, two writers were born on the same day, at the same time. For the past three years, Laura Tinard and Paul Lemaire have corresponded, exchanging the chapters of their novel, chasing each other all over the world while making sure to avoid each other in the process. How can literature transform our relationship to others and our perception of the world ?
The power of the written word has caused the spill of fiction into the physical world, and into other mediums : moving image, sculpture, live performance… The performance’s relationship to the book is not merely illustrative, rather it manifests the extension of the manuscript beyond its pages. It questions the temporality of the novel as literary form : what happens in between chapters ? Where do the characters go ? It interrogates the implications of immersion into a story and how the reader’s reality slowly becomes contaminated by fiction.
Once the spectators enter the scene of the performance, they become « extras » of the novel of which they ignore the very existence, despite its apparent claim to fame.
Nice Prime is a crowded abyss.
CANDY IN MY CAR
IS THE CAT IN THE RADIATOR
Bucket Hat, commonly known as Bob Buck, a young man full of generous dreams and ambitions, drove into this grey northern city all the way from his vacation on the Riviera, at the wheel of a Citroen Picasso car. It so happens that this car isn’t his, Buck « borrowed » it from a renown art collector, critic, entrepreneur, spiritual councilor… Jonathan Cesar d’Arial. On his way, he picked up someone in need of care he ran over, the artist Arman Arman. In the trunk he found the manuscript of an incomplete novel by Cara de Saint Far and a miniature silver « Momor » sculpture by Jonathan Cesar d’Arial. Pumped by RedBull, marijuana, and universal love, Buck came up with a new startup project but needs money to invest, so he has set out to sell the car and everything in it, in parts, as art. Are those things from Nice, or from elsewhere, beyond the looking glass ? If you really think about it, what’s real bro ?
We are at the end of the eleventh chapter. Cara de Saint Far and Jonathan César d’Arial just argued about the paternity of the novel. Cara de Saint Far is about to arrive in a few minutes at her place. Victims of terrorist attack land to her living room to « regenerate their bodies ». During her absence, regulars are showing to neophyts how to deal with Cara's furniture to accept their slow transformation.
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