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by Bluberi Thu Feb 07, 2019 8:48 amWhen I visit Paris ahead of the launch, I meet Martine d’Anglejan-Chatillon, who Khrzhanovsky “cast” in the role of Dau’s executive producer” in 2016. Dau is “the antithesis of culture as entertainment,” she explains, “of having this nice, comfortable thing that you already know what it is before you go.” Visitors to Dau in Paris will not be able to fully control their own experience, she says. You do not buy a ticket; you are granted a “visa”. You can choose your length of stay – six hours, 24 hours or unlimited – and you must fill out a psychometric questionnaire online, the responses to which generate your own bespoke itinerary. Assuming your application is successful, you are required to trade your mobile phone for a device that directs you to various sites across the two venues. It could be a 400-seat auditorium or a fourth-level basement. I tour back-of-house spaces decorated in Dau’s now-familiar Soviet/Lynchian aesthetic: dimly lit corridors, Soviet paraphernalia, more mannequins. One room is a 1940s Russian parlour; another is filled with the contents of a Berlin sex shop.
Inside Dau, the 'Stalinist Truman Show'
Inside Dau, the 'Stalinist Truman Show'
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