Vincent Dunoyer directs his work to a totally unexplored space: he proposes a "virtual" choreography, a "choreographic object", through an installation with three screens and nine slide projectors, without the physical presence of the dancer on stage.
As his 'musical object', Dunoyer chose a two-minute étude for pianola by Mexican composer Conlon Nancarrow. His extremely complex canons inspired him to work in analogue: on the one hand, the combinatorial, the complex and the numerical, but on the other hand also: the careful craftsmanship, the manipulation of objects and small machineries.
The music supports and models the projection of a series of images showing Dunoyer himself, created and edited by Mirjam Devriendt, a Brussels-based photographer. These very anatomical and old-fashioned stylised body images are interspersed with X-ray images of the internal body.
Etude #31 is choreography for a dancing and musical object.
