productions Sinesuide imposizione verticale   choreography paola bianchi installations ivan fantini on stage paola bianchi video adius organization alessandra simeoni production adius, agar collaboration to production blusuolo   “We are meat, we are potential carcasses. If I go into a butcher’s shop I always think it’s surprising that I wasn’t there instead of the animal.” Francis Bacon   LIVE PERFORMANCE   the closed room. installation of a body forced into a place had on loan. the white room. aseptic, tiled room. slaughter house’s working block. slaughter house’s modernity vacuum. no gleam of darkness is permitted, no outer air is allowed. the colour of flesh stands out in the white without injuring the whiteness around. flesh does not undo, compact, it consents to stay in the structure containing it, the skin. undergone violence, violence created as a reaction. viscera’s silent rumour. slaughtered thing’s modernity.   WORKS TRIPTYCHS anatomical composition, exposition. each triptych exalts a part of pig’s fifth-fourth (sum of proteins often ignored, condemned, refused in name of the absurd prejudice, called disgust), that includes head, tail, trotter, and all the pig’s entrails. Inside the three gestures that paint the canvas, the gastronomic doing is released and it arouses an aesthetical irruption into the rural imagination. FORMALIN the acquired antiseptic in favour of the fixed aseptic. subtraction, solution, deformation of the appearance through the eye, “an outside doesn’t exist”. animal anathomy, extreme form of fidelity to the reality, confined to a narrow, closed area.   VIDEO   delivery passage. slow precipitating of memory in the skin. internal corrosion. external’s exposition.  bowels close themselves in a tangle in order to separate themselves in the action. the skin presses, retains, closes. and I stretch the neck to the moon in order to re-find my human figure, she says. and she tells it with the pride of one who has learnt it from a loved person. he has taught it to me, but I use his method in the opposite way. she says it, she repeats it. she repeats the action every day. in order to remove the moment. perhaps just to prolong the wait between the after and the before. the moment while it gets deformed beyond appearance, when deformation records appearance. the make-up decomposes itself. it melts along the cheeks in two black, irregular strips. ineffaceable furrows. if you could draw back, elude the moment, jump the obstacle without grazing it. to go further. to perfectly know its measures. to open the eyes and to be astonished for a while: it was a bad dream, it has never happened. but the room is there. white. clean. ready.  the place of the last pang, of the forgotten memory. the naked feet retire when in contact with the smooth surface. cold runs along the body until it grazes the skin, hair rise. a shiver, a light shake. it was then that he suddenly got up. he heard the roar of the blood in my arteries, he felt the smell of the muscles under my skin, he saw the jugular pulsing under the skin of my neck. she tells. she lets the words run as if they were  the last hope in that white light, the light that makes the view torbid, as if it was afflicted by a bat’s myopia. I have to stop and let the chest recede in the shoulders. it helps me in relaxing the tension of the back. she thinks about is. she does it. I’m here consuming the edges of this scene. the scene is mine, however I consume only the edges of it. sometimes it seems as if my body turned round underneath. I find myself on four paws. I cannot turn the hips. I’m as paralyzed in the back part, as an old dog, as a pig. but those flowers, it hurts, I have eaten those flowers. now I see myself hanging, quartered carcass in that real slaughter-house that is staying alive.   Sinesuide can be performed also without video      Media: Photo (123 kb) Photo design (69 kb)