The figure of the transvestite and the pop star - in this case Mariah Carey - are good examples of the performativity of gender¹ . It is here a question of replaying the prefabricated cultural mechanisms in order to better defeat these mechanisms. Therefore, what we see through this performance is a form of failure, illustrated by the impossibility of singing like Mariah Carey but also by the impossibility of being considered a woman. The hairs, the ball sticking out of the bodysuit, the voice, the wig remind us that Brandon is biologically a man.

Beyond the question of transvestism and difference, this performance presents us with a common denominator, which is the desire for recognition and the need to be liked. The mismatch between the set and the technicality of the device vs. all the efforts made to please, leads us to an inability, a failure. There is a desire here to achieve a form of grace, of beauty through the accumulation of errors, but also ultimately through the impossibility for human beings to reach perfection.

This installation includes switches - accessible by the feet and hands - activating various equipment (fan, smoking machine, back stage light, light shows, etc.).