Between painting, theater and performance, Gloria Friedmann’s “tableaux vivants” are a way of prolonging a militant act by breaking down the barriers of the places dedicated to culture and contemporary art. Dolce Vita consists of a stage in acidulous colors, enlivened by twenty or so students dressed in multicolored overalls. To a song by the Beatles chosen by the artist, the walk-on performers, symbols of a generation careless and sometimes homogeneous in their dress codes, dance with skeletons, while releasing a few balloons to get lost in the room. A baroque vanitas, between a carnival and a dance of death, this “zone of confusion” questions the transience of time and our relationship to death.