Festival Internazionale Performance Art per BAM
I am happy to announce that my videoperformance Fair&Lost will be part of this fantastic event dedicated to performance art in Sicily.
From 23 September to 1 October 2022, opening on 22 September at 18.00, The TILTED BODY International Festival of Performance art will take place in Palermo, and at BAPS in Palazzo Merlo. Conceived and curated by Lori Adragna with the assistance of Miriam Pinocchio. Now in its third edition, the Festival is part of the BAM Biennale of the Mediterranean, directed by Andrea Cusumano, created with the Merz Foundation and the MeNO Association.
The exhibition sees the participation of the following artists: Sonia Andresano, Marina Arienzale & Emanuela Barilozzi Caruso, Elena Bellantoni, Tiziana Cera Rosco, Simone Cametti, Gianluca Capozzi, Eleonora Chiesa, Monica De larenal del Campo, Alice Cordaro, Francesca Fini, Regina José Galindo, Silvia Giambrone, Tamar Hayduke, Jessica Iapino con Elena Giulia Abbiatici, Rosa Jijón con Francesco Martone, Andrea Kantos con Claudia e Andrea Di Gangi, Nicola Mette, Leila Mirzakhani, Marta Moreno Munoz, Egle Oddo, Tiziana Pers, Valentina Parlato, Francesca Romana Pinzari, Luana Perilli, Mona Lisa Tina, Tomasz Szrama, Sasha Vinci.
For the BAM performance and video performance review, suggestions were chosen primarily related to the very concept of the Mediterranean as a place of exchange and welcome as well as a melting pot of cultures. To this is added the notion of "Unsaturated" - the theme of this edition - evoking the image of a container of in-depth studies on contemporaneity starting from artistic research and some crucial topics such as ecology and activism, sustainability, environmental impact, loss / reappropriation of the body and identity following the pandemic emergency.
Palazzo Merlo di S Elisabetta - XVI sec., Via Merlo 20, Palermo.
Fair&Lost Live media performance, 2013
This is probably my most famous work, ad it’s a video-performance art piece, which means that it’s a performative action made for the camera. During the live performative version in front of an actual audience, I wear therapy electrodes on both arms, set to maximum voltage, and try to put on makeup.
Involuntary muscle contractions caused by electric shock are very strong so that I cannot control the hands and the makeup spreads all over, turning my face into a grotesque mask.
The hysterical, uncontrollable, movement of the hand represents the disease of social habit, which reveals its fragility when the system appears on the point of collapsing: the deep conflict between conscious behavior and external social conditioning. Even crying is involuntary, caused by the black pencil and mascara entering my eyes since I cannot calibrate the movement of the hand.
A mechanical cry that is automatically transmitted to the audience, in a sort of empathic conditioned connection, unconscious and therefore completely useless.