Virlab is a web3D experimentation about viruses choreographies. It enables one to choose the protagonists of a dance, to create one's own scene, then to impulse the "dancers" so that they develop random choreography.

Viruses displacements are generated by the simulation of physical reactions (friction, elasticity, gravity, collisions). It 's by adding complex reactive phenomena that virlab gives a sensation of free movments. The spectActor, by his action, is adding an exterior disruptive event, and allows to escape from the linearity of animation. The sum of possible events makes the action open, alterable and alive.


Whether they are organic, moral or numerical, viruses generate a feeling of panic. That anguish, which is justifiable, but mastered with difficulty , grows in reaction to the -potential- dangerousness of contagion, to the invisibility of the "foreign body" and to the loss of integrity of the victim, to his or her deterioration.

What may seem disquieting is that the exponential development of panic, after the existence of the virus has been announced , is similar to the system of viral contagion; it's an extremely powerful psychological syndrome.

Then the possibility of exploiting that syndrome is activated. The stunning awareness bred by the threat of that "virtual and exponential enemy" justfies resorting to any antivirus or remedy : best ones as well as worst ones .

Is organic, moral and numerical contagion an alibi for the withdrawal of bodies and minds, for the closure of physical and virtual territories?


Moving, instable, multiple, cross-disciplinary bodies and objects are an important source of inspiration for my work. Their meeting, juxtaposition, merging or mutation breed a dynamic setting in motion and legitimate their existence on the Internet medium.

Dancing as climactic field of the freedom of bodies, minds, occupied spaces.

Dancing as the area of the multiple, of the interdependance.

Dancing as a space of experimentation and fiction.


It's above all a work of fiction. Altering and exploiting differently simulation, a tool which is meant for concrete applications, enable the artist to disrupt its traditional codes, to make his own an already connoted space, thus expressing a wish for cross-disciplines in order to disclose its machinery in a better way.

That mixing of genres might lead the viewer to call into question the codes of the received information.

grégoire zabé, 2004