Movements come and go, they disappear the moment they appear, leaving no material traces. There are only the traces in the memory of the spectators. Contre-jour confronts this trace-less-ness through the deliberate production of prints, or index marks that indicate that movement preceded them. All this without the 'traces' always being a literal reflection of the movement as, for example, footprints are. Furthermore, Inscription also wants to investigate how 'engraved moments' can also be undone or 'erased'.
Not only the antithetical relationship between dance and writing is central here. There is also a broader (political) context. For example, by definition movements are controlled, especially at the borders, and an attempt is made to make them visible and record them. This provokes counter-movements where one tries to move invisibly, without leaving traces - as if one wants to dance or move only in the here and now.
