“Three employees of a foundry meet up with themselves in an abandoned quarry in Charente. Affected by work, the workers remember the sequence of the gestures that they do every day.”

Opus is the work and the task at hand, but it’s also the word we use for musical composition. We see three workers who interpret a series of movements, movements they know since they are those of their work. They have no benchmarks, no workbenches, and had to use their body memories and instinctive to perform the sequence of gestures. These workers perform in an abandoned quarry, a symbol of a neglected, forgotten, and disappeared job. This performance is a way to preserve the culture of gesture and know-how which may disappear. It’s sort of a tribute to workers’ work and the memory of culture industrial. Τhis disappearance of the gesture is also linked to robotization. Between the harsh reality of factory work and the fabrications on the technology, an ambiguous relationship between the robot and its creators.


Born in 1992. Lives and works in Brussels. Graduated in 2017 from the National School of Decorative Arts in Paris. Pauline Pastry explores, through mediums as varied as video, photography, sculpture and publishing, the evolution of working conditions. She offers a new perspective both on the subject that occupies her and in the way she treats it, her work helping to explore the off-screen, the real subject of her work is indeed the body, of the worker, of her father, employed in a foundry in France. She tries to show a new framework without documentary pretension but combining double wishes aesthetic and social. Her first film "The stretching limit" was shown in festivals such as" Filming the work "in 2018 and "7th Moon". She also exhibited her work at the Grande Halle in La Villette as part of the exhibition "100% Expo" in 2019. Her installation Opus was recently presented at the Komunuma gallery in Romainville in February 2020.