Remove time, purpose, fear and goal
Gare St. Lazare
Timelesshugs, created with Nataska Roublov (Unit MNR) from 2015 to 2016, involved strangers hugging in public spaces for as long as possible—often up to 90 minutes. The act was unannounced and aimed to explore trust, intimacy, and human connection. Participants were invited from both personal networks and online, creating spontaneous encounters.
This project emerged from a previous work, Slapping, where public violence was often ignored. In contrast, Timelesshugs questioned society’s discomfort with intimacy. A prolonged hug, unlike fleeting physical gestures, challenges social norms and offers a deeper, transformative experience. It’s a meditation on trust, process and questioning intimacy in contemporary society.
All were documented with photographs and recorded interviews.
This project emerged from a previous work, Slapping, where public violence was often ignored. In contrast, Timelesshugs questioned society’s discomfort with intimacy. A prolonged hug, unlike fleeting physical gestures, challenges social norms and offers a deeper, transformative experience. It’s a meditation on trust, process and questioning intimacy in contemporary society.
All were documented with photographs and recorded interviews.
Belleville
Mac Val
From November 2015 to February 2016, we presented Timelesshugs at Mac Val (Musée d'Art Contemporain du Val-de-Marne). Unlike previous projects, this work involved external participants, initially recruited via an online dating site. From over 1000 contacts, six people participated.
Following the terrorist attacks in Paris in November 2015, Timelesshugs received both strong criticism and praise—some viewed it as insensitive, while others saw it as a meaningful and necessary artistic response.
Finding participants remained challenging despite positive feedback. We eventually involved friends and museum visitors, aided by museum staff. We adapted the performance to fit the exhibition space, deciding on standing hugs, with seated options for tired participants. The audience, initially confused about whether it was a performance or spontaneous behavior, gradually began mimicking the action themselves.
Following the terrorist attacks in Paris in November 2015, Timelesshugs received both strong criticism and praise—some viewed it as insensitive, while others saw it as a meaningful and necessary artistic response.
Finding participants remained challenging despite positive feedback. We eventually involved friends and museum visitors, aided by museum staff. We adapted the performance to fit the exhibition space, deciding on standing hugs, with seated options for tired participants. The audience, initially confused about whether it was a performance or spontaneous behavior, gradually began mimicking the action themselves.
Mac Val, Mother & Son, 7 min, Photo: Miki Nitadori, Feb 2016
Mac Val, Son & mother, 4 min, Photo: Miki Nitadori, Jan 2016
Mac Val, Husband & Wife, 2 min, Photo: Miki Nitadori, Jan 2016
Timeless hugs in Arles
After Mac Val, we decided that it would be interesting to organize timelesshugs during the International Photography festival in Arles, in July. The idea was for the visitors during the rencontre d’Arles to come across timelesshugs, take photographs and send them to us.
For participants, it was more of an experience, rather than a performance, we decided not to announce too much, even though we had made minimum communications. We began the work in March and organized with the locals.
People found the project beautiful, yet when it came to participating, it was very difficult to find people. Some made appointments but did not show up.
In Espace Van Gogh, there was a spot where every tourist wanted to take photographs - MNR intervened in this spot and the tourists got very angry.
An American woman made racial insults against Asians (even though I was the only Asian).
An Englishman began filming up close, and an Italian man began screaming and shouting so much he made me think he might hit us.
Other times were in beautiful monumental sites, where it was peaceful, and on the street where there was much more tolerance and questioning. The majority of the participants seemed to be enriched by the experience.
Every day we chose some images and presented them in the bandstand.
Espace Van Gogh, Arles, MNR, 25 mins, Photo : Abdel Oustad, July 2016
Cloître Saint Trophime, Arles, spontanious public, Photo : Miki Nitadori, July 2016
Place Paul Doumer, Arles, spontanious participants, 4 mins, Photo : Nataska Roublov, July 2016
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Timelesshugs Band stand
From July 4th to 9th 2016, In collaboration with city of Arles, MNR choose the bandstand to meet, discuss and share the idea of Timelesshugs with the public.
The bandstand is symbolic of the gathering and fabrication of the identity of individual, meeting of groups and of a nation.
Originally from China, the bandstand was a place for meditation. It was imported by Europeans and transformed into a place for the demonstration of military and colonial force. It was therefore imported into the colonies to assert colonial power.
In France, Patriarchy capitalists built kiosks for their employees, in order to form a fanfare, then generalized these fanfares into civic life, as a means of cultivating the body and spirit. It is a place of gathering and shaping the idea of identity and belonging.
This paradox, this friction interests us, as it can be found in the action / experience of Timelesshugs.