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A small crowd of people is entering a freight elevator, the backstage entrance to an empty, gray, linoleum-coated floored space.The performance begins to unfold through the movements of some dancers interspersed in the crowd, who become identifiable by their subtle motions.In its original installment, the exhibition at Palais de Tokyo occupied the basement floor, and this lower-level setting inspired the idea of the spectator as a spelunker, physically descending and then ascending again in order to observe all of the multiple film channels.The installation itself used wheelchair ramps and scaffolding to intersect and fragment the preexisting architecture.The ramps forced the able-bodied spectators to use a means of access typically intended for the disabled spectator—making their bodies ill-suited and in a way disabled for the physical setting.So actually, the physical installation is an intervention that divides and restructures the exhibition space.The complex show functions almost as an ongoing workshop.

This cumulated in an installation that was both a physical and an auditory experience so grounded in the perception of physical space that on some level it serves as an architectural structure in itself.The inherent dialogue emerges on the issue of ableism: perhaps the least-discussed form of discrimination, but omnipresent in any urban landscape.Within the films, One World Trade serves as a mediating character, bringing together both characters’ bodies within the space of the films, and also standing like a phantom limb in the skyline, a reminder of what stood before and is no longer—of another wound, or injury, or impairment.The original entrance to the pavilion was turned into the exit when the modernist addition was built (the pavilion was built over two periods, neoclassical and modernist).I wanted to push that even further, and sideways, so that viewers enter through a window and exit from the tool shed.