Two girls stand illuminated by a cold beam of light, looking back as if they have caught you in the act. Something has gone terribly wrong: their bodies are no longer entirely their own. They become ghost detectives, tracing the crime of the gaze that has exposed them to view.
Their investigation leads through a haunted archive of choreographic machines that have historically observed, classified and disciplined the body: the anatomical theatre, where exposed flesh became a baroque spectacle; the Salpêtrière Hospital, where photographic technologies turned female bodies into objects of diagnosis; and the Soviet factory, where machines reorganised the body according to the rhythms of production.
“Traces and exposures”, the new work by Girls in Scores (Daria Iuriichuk and Polina Fenko),moves through this anachronistic terrain of ghosts and algorithms, girls and machines, tracing how the gaze has always choreographed its subjects before they even had the chance to move.