When Olga Kisseleva was invited to do a performance at Louvre Lens, she analyzed the layout of the museum. The Louvre Lens building, which is made up of several elongated and slightly curved modules, seems both open (to viewing, to interpretation, to a multitude of readings of the space) and enigmatic, like an ideogram that’s inscribed in the landscape. If a curve that could reunite the exterior angles of each one of the modules were to be traced, one would be able to see that one of these ideograms, which structures the building, is the mathematical sign for infinity.
The performance consisted of the public making of a trace through the gardens of the Museum, so that the infinity symbol would be made more visible. This action underlines the role a museum plays, allowing for major artworks, like with the thought to go through (to conquer ?) time, and to hope that they exist for ever.
The trace was created using a kilometre of red material laid out through the gardens. The material was handled by an actress who made this “drawing to the infinite” throughout a day in a sort of dance.