Transangels 24 05 17 — Ciboulette Selfsucking Se Exclusive

Trans‑Angels – 24 May 2017 – Ciboulette’s Self‑Sucking, SE‑Exclusive Experience
A Deep‑Dive Review

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Embodied Autophagy in Performance – The show is now frequently cited in academic papers discussing self‑referential bodily practices, aligning with scholars like Katherine Hayles on posthuman embodiment.
Sensory Fusion – By integrating olfactory cues (ciboulette vapor) with visual and auditory stimuli, the piece contributed to a growing movement toward multisensory installations, echoing works by Olafur Eliasson and Ryoji Ikeda.
Participatory Transparency – The use of audience bio‑feedback pre‑figured later data‑driven performance pieces, where spectators’ physiological states become part of the artwork’s core algorithm.

Custom Audio Processing: Raf Ortiz’s live‑coding environment used Granular Synthesis to fragment Ciboulette’s breath, creating a sound that felt simultaneously intimate and alien.
Bio‑Feedback Integration: Heart‑rate data collected via Bluetooth chest straps subtly modulated the visual hue, giving the audience a literal pulse in the lighting.
Scent Engineering: The chive vapor was produced using a food‑grade ultrasonic diffuser, ensuring safety while adding an olfactory layer rarely seen in performance art.
Modular Stage Mechanics: The central pit’s floor could be raised or lowered within seconds, a hydraulic system designed by Lina Voss to enable rapid scene changes.

Follow‑up Projects: In 2019, Trans‑Angels released a recorded soundscape titled “Self‑Sucking (Re‑Distilled)”, which extracted the breath‑derived glitches and re‑contextualized them into a stand‑alone album.
Ciboulette’s Evolution: Post‑2017, Clara Boulanger shifted toward interactive VR experiences, yet she continues to reference the 24 May ritual in her later work “Echoes of Autophagy.”
SE‑Exclusive’s Programming: The venue has since curated a series called “Auto‑Cycles,” inviting artists to explore themes of consumption, decay, and renewal.