Catalogue text from Noémie Solomon.

Production emerges from the motivation to engage with human resources that activate the exhibition space through specific modes of engagement, where the activity itself is understood as production. The work initiates a series of “artificially staged actions and/or situations”–to quote a provisional definition Le Roy has given of choreography–which organize and mediate bodies, movement, relations and production in order to redistribute and complexify the use of museum spaces in relation to labor and enjoyment visa vi representation and the consolidation of power.
 
Production engages the visitor in a situation that poses a certain indetermination thus destabilizing notions of interpretation and contemplation in favor of activation and affective production.The work further can be seen as a knowledge producing dispositive rather than as knowledge facilitating representation, both in the elaboration of a social space and relations with the visitor and for the participant: equally in the confrontation with the visitor (spectacle) and the engagement in labor when the exhibition space is unoccupied.
 
In Production, Le Roy collaborates with performance related artist Mårten Spångberg – one part of International Festival, whose engagement with choreography and architecture over the last decade has extended the understanding of choreographic practices.Together, they set up an apparatus that tackles the function of the museum and dance/choreography as institutions. Developed closely with a group of participants the work appropriates, through a range of media, giving the participant opportunities develop individual practices in relation to these sources. This work might be said to be empowering the individual in respect of a singularized process of lateralized decision making, through labor, the production of social relations and becoming body. Further by considering the museum space a site of labor, a rehearsal space – in French repetition, in which one iterates movement and its organization as mode of practice. 
Production dislocates the material conditions in which becoming or movement takes place. As a forceful exploration of the museum’s ecology, the work foregrounds movement or activation as a dynamic yet sustained way of producing knowledge. What this work effectively proposes then is an ethico-choreographic paradigm: it rehearses urgency, delocalizes an institutional dispositive and re-imagines structures of power.