San Quirico D'Orcia
Performance in the occasion of the finissage of the 48th edition of the contemporary art exhibition "Forme nel Verde". Saturday, September 29 from 17 to 20, "Eternity's Act" by the artists Ian Bertolucci and Giacomo Salerno.
The performance, curated by Gaia Pasi, was repeated on Sunday 30 September.
Thanks to the presence of the installation "Eternity", Thanks to the presence of the installation "Eternity", theres the right conditions for implementing the Eternity's Act (2018) in San Quirico. The cemetery of the eternal (artists), designed by Maurizio Cattelan and created by the students of the Accademia di Belle Arti di Carrara, is conceived by Ian Bertolucci and Giacomo Salerno as a ready-made, a perfect setting in which they embody two widows, visiting at the cemetery. The performers are willing to give their tears and their time, to contemplation, to the memory of the artists and to share with the others for the inconsolable pain for their loss. The aesthetics of the characters it refers to the Hollywood style of the twenties and evokes, for attitudes and presence, the glamour and artifact figures of American celebrities of the first half of the twentieth century.
"(un)BOXED", Carrozzerie | n.o.t, Roma.
The boudoir born as a room or private space in which indulge ourselves to intimate confidences, , it's not only the place where to put make up on but also an intimate place where guests are welcomed and entertained. A hushed world in which one gets rid of one's own inhibitions and social rules, allowing himself the most disparate sensory experiences, made of precious fabrics, perfumes and disinhibition, plunging into artificial beauty in its purest state. Historically, photography enters the boudoir to celebrate and document the body, initially only for private use as a gift for lovers; images that do not want to represent the body as a symbol but the subject in its most intimate and private image of itself.
That's where the performance is born. It wants to recreate a private space where the subjects live in an intimate way their own routine, a sort of room where to affirm their own gender performativity, taking advantage of a ritual that allows the gender to become a true gender, coming to it through the collective repetition of a series of acts that lead to the final genre. This aspect is documented by a polaroid with a variable number of photographic films available to the use for the public, who will choose in which moments immortalate a part of a private collection of personal images, shots conceived for the visual pleasure of those present. The result that derives from the whole process is the self-documentation of somewhat that is born and developed from a characteristic nourished by an emotional, psychological, behavioral and fetishistic components of the public.