Abstract
Choreographer Radouan Mriziga (Morocco, Belgium, 1985) performs a version of his solo 55 (2014) in the Palais de la Dynastie in Brussels (2015). He constructs a floor plan within a building that he leaves almost untouched, in a moment where choreography and architecture seemingly come together as equal interlocutors. This article will research when and how this moment takes place and argue that 55 and the Palais de la Dynastie come together by way of joints, physical as well as architectural. It will do so building on the work of philosopher Jacques Derrida and architectural practitioners/theorists Madeline Gins and Arakawa to speculate on the implications of this articulated approach to architecture, both on the Palais de la Dynastie as well as 55.
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