On the occasion of the solo show Some things at Fondazione Nicola del Roscio, Rome
Category: Performance
07
Oct
Oct
TRAUM is a visceral investigation of the role of violence in relationships and of the phisical and psychic space of the domestic intimacy
30
Nov
Nov
Baby dull is a site specific work and performance realized during the RAID Manumission Motel exhibition, near Bologna. Installed on a hotel bed, two chains have attached at the end of them a false eyelash made of iron. The performance focuses on intimacy as a space for the negotiation of power.
16
Nov
Nov
performance with Silvia Giambrone and Dalila Cozzolino
James Wines’s Pavilion, Sculpture park, Fondazione Pietro e Alberto Rossini, Briosco (MB)
videoprojection
col., loop
Using the peculiar architecture of the James Wines’s Pavilion as a language, One -act play for flies explores the alienation of the domestic life and the invisible and mysterious connections among people, objects, space and time.
12
Feb
Feb
Performance with Silvia Giambrone, Davide Enia, Dalila Cozzolino, Andrea di Palma
Nobody’s room is a performance including the sculpture of the same name made by microphone stands and kitchen supplies. The text performed by the performers is freely adapted by the text ‘Indicazioni stradali sparse per terra’ of a bosnian poet and playwright Nedzard Maksumic who wrote twenty points about how to survive a war. The text has been adapted to become seventeen points about how to survive the domestic environment.
The adatped text is:
1. In this context, no one is mad. Or at least we cannot claim that anyone is mad. Many of those who were mad before, now stand quite proudly. Like fearless combatants, convinced of the ideas of others.
2. In these conditions, no one is intelligent. You must not believe anyone’s truth. In the blink of an eye, the long discussions there used to be about the senselessness of it all are transformed into a wild scream, the moment we find out what happened.
3. You should not remember anything and try to sleep when you are sleepless, adorn yourself with amulets. Trust that they will help you. Have faith in signs. Listen carefully to your guts. Act according to your feelings. If you think you shouldn’t go down that road, then take another one.
4. Do not be afraid of anything. Fear generates new fear and blocks us. You must firmly believe that you are destined to stay alive.
5. Do not leave things unfinished. Pay all your debts. Keep clean. Do not make new friends. You will have enough to worry about with the friends you already have.
6. Protect your memories, the photographs, the written evidence of the fact that you have existed. If everything burns, if all is lost, if they take everything from you… you will have to be able to prove that you existed, also to yourself. Collect everything in plastic bags, bury it in the ground, seal it inside the walls, hide it, and only reveal the treasure map to a few people.
7. Do not be attached to things, to land, to walls, to houses, jewels, cars, art works, libraries… transform anything that still has a price into money. And most of all, do not be attached to money. As soon as you can, exchange it for freedom.
8. Act for the good of people. Always. Most of the time they do not deserve it, but do it just the same. Do not expect any thanks. Do not ask who you are doing good for. Do not bind yourself to your actions.
9. Do not say what you are thinking. Don’t be so stupid. Because the moment you think, you no longer belong to them. Do not stay silent, because they must not think that you are thinking about something. Speak, just for the sake of speaking.
10.If you find yourself in danger, do not be brave, not even if you are desperate. Try to survive. Do everything you possibly can. You must only be careful not put others in danger with your efforts. Until you are dead, you are still alive. It seems easy to understand. Never forget it. If you must sacrifice yourself, do it for the people you love, never, in any way, do it for ideas. A sacrifice will always be judged incorrectly by others, according to their conscience or perspective. Ideas will pass, they will spoil and become comical. If you stay alive, you will see how hard it is to continue to believe in them.
11. Do not, in any circumstance, beg. Do not beg anyone. Not even if it is a question of life or death. It is a question of good taste. Just think what it would mean to live on the same planet as someone who spared your life.
12.Do not lead anyone. For any reason whatsoever. When you turn round to look for help, there will be no one behind you. Do not count on anyone, but do not ignore the fact that those you love count on you. This is healthy. You must know. Why? ‘Cause the objectives must not be grand, and they must not be in any way general. I know one person who spent the whole time with the desire to have a beer. It’s true, he never managed it, but it was splendid to live desiring it.
13.Do not be surprised by anything. By any conceivable miracle. Do not be downcast about anything. They were all like that before, its just that the conditions were different from how they are now. This is the first opportunity to put yourself to the test. So many people are disappointed by themselves, that your own disappointment is nothing compared to it. If someone betrays you once, never give them another chance to betray you.
14.Always try to be prudent. If you need a hole to hide in, dig it yourself. If someone else does it for you, the hole might be too small.
15.Do not get angry with anyone. At the same time never forget anything. When it is all over, you can decide what you don’t want to remember. If it is all over, do not forget the tests that some did not pass.
16.However, do not base yourself on this. Do not wait for an opportunity to take revenge. Vengeance must be a stranger. It is something that belongs to others. If you survive, you live for yourself and for the others that survived.
17.And then, never think that you are the Voice of Truth. No one is. That is how it seems to me. To another it seems different. Keep your own piece of the truth for yourself. It will be useful only to you. Forsake the right to write down the history of the siege. Do not oppose the list of those who have been chosen as heroes. Do not hope to put things right, not even an injustice that was left unresolved. In that moment history had already been written. There is no space here for one’s own truth.
Now that you know all this, try and protect yourselves and perhaps save you skins. If you don’t manage, at least you will not be bored.
11
Feb
Feb
Single Channel Video Projection
col., 5’02’’
A performance that focuses on the familiarization with the threat as a relational-wise standard.
10
Feb
Feb
Silvia Giambrone
embroidered collar tailored on skin by Dr. Franco Nucci
This performance points at the strong and ambiguous connection between beauty and violence and their relationship to the subject.
Anatomical theatre is part of a wider work about embroidery as an ancient practice (still called “feminine art” ). It comes from years and years of a slavery practice: the way in which women made something “beautiful” of their coercion time and the way the Capital used this practice to create value and to subjectify women into the discourse of beauty.
08
Feb
Feb
Percussion: Alessandro Bianchini
Piano: Jacopo Mazzonelli
This performance found inspiration in Majakovskij’s poem Viola e un poco nervosamente, and is the result of collaboration with the Italian orchestra Jfutura of Trento. I was asked to “use” the musicians of the orchestra and the music as a language to make a work of art. A classic view point about music (which I share) is that music is the most intimate form of art, for it reach the depth of our body without cultural mediation. This made me wondering whether a reversion of this approach is possible, whether rather than being the receivers of this immediacy the body functions as the ultimate creator of a musical communication. This immediacy arises from the inner depth of the body, whether rather than receiving the music from outside is the music of the body to emerge and penetrate the external environment. I asked the musicians to play my body as it was a musical instrument, making an improvisation following the rhythm of my heart which was amplified electronically. Therein allowing my body and the music to merge into one surface.
07
Feb
Feb
videoprojection
Col, dur. 1’04’’
This writing performance inquires into the dynamics among language, the law and body. The starting point lies in the idea that language-and the law as linguistic expression-is able to represent and give expression to reality in a clear and comprehensive way. This entails a direct and mutual relation between that which is represented and the language that one uses to represent it, between words and things, between the law and facts. In alternative (way to look at this dynamic )a different stand point emphasizes the ever paradoxical dimension of language; that is the impossibility of language to represent faithfully the real. It is in this direction that one should think of the law as well as a linguistic expression unable to remain faithful to itself, always betraying itself. In this regard the first commandment provides us with a useful example of both a linguistic expression and its inability to absolve the very communicative and injunctive function that it involves. The simple transpose of the common biblical tradition from one language to another, from a form of writing to another, implies in its essential writing action a twofold effect of translation and betrayal: one hand betrays the other in a simple and simultaneous work of translation. The uniqueness that “(there is)no god but God” entails is thereby transgressed and fragmented in a series of signs following the asynchronic rhythm of the hands, a dance, rather than the invocation of meaning that the first commandment aspires to exert.
28
Jan
Jan
Single Channel Video Projection
10’
Aimed at exploring the strong and intense relation between control and desire, this performative action wants to challenge the practice of seduction, as a patriarchal way of controlling the body. This repeatedly failing action (because I manage to wear the eyelashes just for a few seconds, and they fall on the ground again and again) addresses many important questions: what do we exactly desire? Is desire the original source of our creativity or rather the product of historical and social circumstances? Wearing false eyelashes means being more desirable, desiring to be desired. What is the mechanism of desire, and how can we now wear that way of desiring? In what way do we desire desiring?
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