Review and commentary 1: New York TImes

In “Sans Objet,” a work both sinister and beautiful …, the agenda is man versus technology. …
Developed to carry heavy pieces in assembly lines, the robot … mirrors the movements of an arm: a long segment with an elbow reaches forward or swings around. It extends to resemble a lean dinosaur’s neck and even possesses something of a face, … Under Arno Veyrat’s silvery lighting this steel object pulsates with life.
[Mr. Alenda and Mr. Boyer's] … balance and ability to freeze time and challenge gravity is strangely hypnotic.
Such precision is necessary when moving with a machine, but the robot’s elegance gradually turns ominous. More than once Mr. Bory refers to Stanley Kubrick’s “2001: A Space Odyssey”; his robot pulls apart the platform stage and places panels upright like the monoliths that appear in the film. The stage is transformed into skyline, and the men are prisoners of a machine.
But while the robot is certainly menacing, “Sans Objet” isn’t so much about showing technology’s destructive side as it is a mesmerizing juxtaposition of the living and the dormant. In the end the robot is more sentient than the men; and that’s the scariest part of all.

— Gia Kourlas, in The New York Times, November 13, 2012
www.nytimes.com/2012/11/14/arts/dance/compagnie-111-at-the-brooklyn-academy-of-music.html