They developed a visual language, allying the tragic and comic, as well as a crossover of several disciplines.

“I want candies [2012]” by compositor and pianist Marie-Hélène Blay The Fermières carry out their performances by choreographing a woman’s relationship to her image: for instance, they inscribe their presence in a space by tracing their silhouette, by accentuating signs of femininity such as make-up or by gesturing to attract attention. Through exaggeration they succeed in staging the performativity of gender in a way that excludes any essentialist conception of a woman’s identity; an identity that they treat in a group dynamics of synchronized and disorganized actions that bear witness to constant relationship of the self to other.