The Sandwich-Man is a moving, urban, in-situ performance for one performer.

Artistic design: Magali Desbazeille

“ About the memory of a place, its evolution, its occupants, passers-by, the people who work there, traffic… It addresses urbanism, architecture, that which is hidden by architecture, a resident's perception, experiences that have been lived in the place.”

				A performer moves through the night, carrying a portable video projector. Images are projected directly onto the walls of the city. The images are pre-recorded along the defined route. Images of the places themselves are projected on a 1 to 1 scale. They are images of parts of buildings, shops, anonymous passers-by, cars… The video-projected image, superimposed 1 to 1, is above all a memory-image.
Portable projection system by Pixman

It is like a moment from the past, confronted with the present. Then the images shift and drift apart more and more. The unmatched images address more political notions of urbanism, choices and the resulting social implications. The performer has a microphone. The sound is essentially his or her voice live. The sound attracts people's attention, they discover the video projected images, and follow the proposed itinerary.

The Sandwich-Man performance also refers to the advertising sandwich-men who appeared during the Great Depression of the 1930s in the United States, and have reappeared in major Asian mega-metropolises. Instead of carrying a poster or a plasma screen, this sandwich-man projects images. The performer is a distorted form of promotional prop.

Performance time: to be determined according to the route; the performance can be repeated several times during a single evening.

Size of the video-projected image: between 1m and 3m.