Paintings in sequence
Francesco Pititto
A boar goes forward into the woods, a squirrel in the branches, two courting snails, an old, naked body of a man. A woman's face in the very foreground, the mouth and teeth and the eyes and the silent speaking to the other self in real space, and also to you the spectator who observes both.
She is a hunted boar, surrounded and wounded, in the metamorphosis of a squirrel fleeing among the branches, dreaming – hermaphrodite - embraces without males in the guise of a limachid, while a male body writhes unsuitable, clumsy in a ring movement. She yes and looks at us from the videographic picture, she says without words in the darkness of a mouth that attracts and swallows the sound of “soft braids”.
She is the face of the actress in a dialogue image with her double-bodied, two-headed Amazon, free to die inside and outside the battle.
Each video picture is in black and white, except the amplexus between the two Arionids, gastropod molluscs without shells, without a home, without a shield to defend the exposed body. The color appears only for the two molluscs, changing colors in the rotational movement from top to bottom.
Malacology and conchology notes:
Snails are hermaphroditic and courtship consists of a series of turns on themselves, convulsions and rubbing of bodies. Above a wall they lower themselves suspended in mid-air, attached to two thin strands of mucus.
From a small opening on the right side of the head they begin to let out their translucent blue reproductive organs, they wrap themselves around each other creating fantastic shapes and choreographies. By the end of intercourse, both will have been fertilized.
Exposure of the body in repudiated architecture or electrical nudity in sacrificial space
Maria Federica Maestri
- ILLUMINATING THE REMAINS OF THE CHURCH BUILDING
- RESTORING THE ANATOMICAL SPACE OF MARTYR AGONY
- HIGHLIGHT TRACES OF ELECTRICAL DEVASTATION
MARTYRDOM
For the exposition of the martyrdom of Ermengarde, the great ecclesial space of Saint Louis is revealed in its extreme nakedness.
VIOLENCE
The violence perpetrated on the cult building, deconsecrated and used as a power plant at the beginning of the twentieth century, in perfect and tragic analogy with the female body, humiliated and repudiated by the functional brutality of patriarchal society, must be visible in full light.
LUMEN
Nothing is hidden or mitigated by the sentimental and salvific warmth of providence.
HUNTING
The space is crossed by fourteen wooden rods similar in size and shape to medieval spears for wild boar hunting.
ANATOMY
The witness/martyr church is the anatomical space of the hunting act and agony of Ermengarde.
TANE
She, like the animal, chased, captured, wounded, bleeding will die seeking darkness and the peace of death in five black dens.
Wood on wood. For Crine_Ermengarde
Roberto Bonati
A clear awareness of death.
All art is related to death.
Mark Rothko
Wood on wood.
I double bass, fifteenth spear, the liveliest, the most feral.
In dialogue, fighting with the body and voice of a woman,
with boar body.
And find each other again.
Finding yourself with Maria Federica at work, with a few more scars but a look
always passionate. A look from the heart.
Finding ourselves in a job that talks to us about death, through a life, to overcome death.
My work as an instrument/character was realized in the creation of a two-voice path between writing and improvisation that comes to life through Ermengarde's Via Crucis.
I wanted to keep alive a performative side, of instant composition, a flexible space of invention, in which the music in dialogue/clash with Carlotta's voice can prove similar but always different in every replica, a space of risk, a sound that walks on the wire, therefore each painting foresees and proposes an idea, a musical material that is used as a seed for a sudden creation.
From test to test, Carlotta's voice/sound and the sound of my instrument in relation to the silence and acoustics of the church took on a rhythm and an animated flow, creating a precise and lively sound space.
