Moore Bacon! (2015) is the second per­for­man­ce Bosse Provoost made with Kobe Chielens.

The ques­ti­on at the basis of this per­for­man­ce was: how can a body on sta­ge (see­min­gly) trans­cend the limita­ti­ons of its ana­to­my and appear as uncan­ny, abstrac­ted, rup­tu­red or fluid as bodies in sto­ne (Henry Moore), paint (Francis Bacon) or ani­ma­ted film (Walerian Borowczyk)?

To tac­kle this ques­ti­on, Kobe Chielens and Bosse Provoost appea­led to the con­trol that a black box exerts over its visi­tors. Most audi­to­ri­ums allow a maxi­mum of dark­ness and silen­ce, and the dis­tan­ce from a spec­ta­tor to an ima­ge can be mea­su­red pre­ci­se­ly.
A cand­le, a stro­be and a red bicy­cle light are the only sour­ces of light.

In the per­for­man­ce, a nak­ed body is sub­jec­ted to an inter­play bet­ween the subt­le gra­dients of light and dark­ness. The (head­less) body is see­min­gly torn apart and assu­mes impos­si­ble forms: it stret­ches, shrinks and explo­des, only to pre­sent itself to us again in a new form. The eye of the vie­wer is con­stant­ly play­ed with. Textures, sha­pes and colors emer­ge from the spec­ta­tor’s own ima­gi­na­ti­on rather than from what is actu­al­ly hap­pe­ning on sta­ge. Every act of per­cep­ti­on is, to some degree, an act of creation.