Olga de Soto’s masterpiece Incorporer ce qui reste ici au cœur focuses on states of creation which, when performed one after the other, constitute a series united in a single programme. The chronological arrangement of their names gives the title to the whole, which is destined to evolve still further. Nurtured by a collective memory inherent to the group with whom she works, Olga de Soto invites them to venture into a world where the traces, these hollows carved into the body, occupy a fundamental place. The artist points to the very essence of her work through an unrelenting questioning of the intention of the movement and the thought which precedes or accompanies it. It is about investing the actions shared by everyone, literally incorporating them and therefore becoming one with these fluids of air and water that are essential for life, which were already present in the previous work (Éclats mats, 2001). Eminently visual, minimal and almost conceptual, Incorporer ce qui reste ici au cœur invites introspection, this held breath which torments each of us.

Pascale Viscardy, Sur un fil, tendu, L'Art Même n° 36 (BE)


The traces left on the body in solo #1 and the memory in the head in solo 2 now make way for the memory of the heart, feelings and emotions. This subtle, intelligent structure (…) is fascinating in the way it poses so delicately the essential questions of dance and the relationship between the body, mind, memory and heart.

Guy Duplat, La chorégraphie subtile d'Olga de Soto, La Libre Belgique (BE)


Everything happens subtly and intimately here, in close, tacit complicity with the audience (…). The landscape changes. Objects are frozen in a smooth, sticky red (…). Then the movement resumes, along with the speed, pleasure and transgression, until the final, unexpected, superb exploration. We then realise that from start to finish during this atypical, intimate and fascinating performance, we have not heard the single creak of a seat, no coughing nor even the slightest rustling of fabric. The exceptional attention commanded by this show demonstrates its formidable intensity (...).

Jean-Marie Wynants, L'insaisissable légèreté du mouvement, Le Soir (BE)