From chaos and solitude, Anglo-Algeri­an per­former Samir Kennedy draws power­ful and unique images, in a piece which oscil­lates between a con­cert, a cab­aret per­form­ance and a nightmare.

In the chaos of a space littered with vari­ous objects and trash, stands a sad and pathet­ic clown, mired in a loneli­ness that our ultra-lib­er­al era has made gloomy. He is almost mute, com­pletely absorbed in the end­less repe­ti­tion of a show that will nev­er be. All there is is this series of clumsy and dis­par­ate scenes, per­meated by his obses­sion with sing­er Patsy Cline, an icon of Amer­ic­an coun­try music who died in a plane crash in 1963. For although the man known as Samir Cam­paign does not speak, he strings songs togeth­er like a drunk drinks one beer after anoth­er, in a last-ditch effort to brave a world para­lyzed by ter­ror and bore­dom. A punk ges­ture, Chaos Bal­lad thus finds a nar­row path between humor and des­pair and encoun­ters – and, for a few fleet­ing moments – beauty and grandeur.