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Saturday 9th May 2015 saw the opening of the 56th International Venice Biennale of contemporary art. Titled «?All the World’s futures?», the  exhibition aims " to investigate how the tensions of the outside world act on the sensitivities and the vital and expressive energies of artists, on their desires and their inner song” (Paolo Baratta) . We were therefore looking forward to a Biennale at the very heart of current affairs.
Artist Sarah Trouche was invited for the occasion for which she decided to go on a “ranting” performance called “Seriously all the world’s futures?”. After dressing up with all the clothes she had brought along in her luggage, Sarah Trouche hurled herself to sea towards San Michele, the cemetery-island of Venice. 
Similarly to migrants who take along with them their few material possessions, clothes weighted down by sea water are a reminder of the weight of existence on such men, women and children forced to abandon their own homes to survive.

For two hours, hanging on to a life belt, Sarah Trouche battled against the current trying to escape the island’s dead, also a metaphor of isolation and reclusion. 
In the Mediterranean Sea – also known as the deadliest passage in the World – the performer struggled for a long time. She reminded us that countless unknowns died in these waters and that they must not be forgotten. Through her action, Sarah Trouche wanted to observe other people’s reactions to her difficulties; would they hold out their hand or look the other way? 
In her own manner and keeping up with Chris Burden’s performance (an American artist who likes provoking spirits to arouse their strongest reactions), Sarah Trouche invites us to reflect on the role we must play in this drama.

Sophie Laurenceau

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