
EXPLORING THE UNCONSCIOUS
A comprehensive artistic mediation



The show is the culmination of our research, but not the only way we pursue our goal.
To spread a passion for reflection and self-discovery, we have revisited and reinvented
various activities to create multiple pathways for engaging with the audience.
All of these formats can be activated according to the interests and specific
needs of the host venue, offering high adaptability and flexibility.
Bureau of Surrealist Research
Active since 1924 with the declared aim of gathering material for
an inquiry into the unconscious, this Bureau serves as a major
source of inspiration for us.
A century later, we reopen and revisit its doors to offer a glimpse
inside, yet seeking a different kind of proximity: while the Surrealists explored for the pure sake of exploration while remaining distant
from the audience, our research aims to create a more intimate
bond and reveal a clear reflection of those who take part.
The Bureau functions as an overarching framework housing various activities, including the Exquisite Corpse, the Oniroscope, the Auscultorium, and Maieutic Counseling.


Artistic Installations
We love working with the concept of estrangement: when confronted with
what appears unusual, automatic perception is interrupted, attention
awakens, and thought is activated.
For this reason, we create in situ artistic installations in the
transit or waiting areas preceding the show.
We intervene in the environment using exclusively the elements already present, leaving a temporary footprint that is restored immediately afterward.




Participatory Actions
Many of our projects rely on collecting material of various natures
and forms donated by participants in our activities.
This material takes on new life within participatory and collaborative
artistic installations: works created from audience contributions
or co-created alongside local communities.
One example is The Door of Dreams, an installation shaped
directly by people's drawings of their night imagery.


