Exhibition by Abel Gonzáles, Alejandro Guzmán, Maria Rodellas Monje and Julia Sepùlveda Llorente, students of Escuela Universitaria de Artes TAI in Madrid, curated by artist and RUFA lecturer Simone Cametti within the Body Sound DiVision (BsdV) consortium, made up of RUFA, Saint Louis, Accademia Nazionale di Danza and ISIA ROMA Design.
The exhibition “Girare il caffè in senso antiorario” (‘Stir your coffee anticlockwise’) is the result of two months of exchanges between students from the Consortium’s institutions, a project that brings together references to the human body in a poetics of liberation developed through performance, installation and video.
Critical text by Giorgia Papucci
The body is sensitising matter that makes it permeable, impressionable, vulnerable.
A quid pro quo planned whose greatest gift is being able to belong to something else, to so much. It is the paradox of the acted body. A crashing chiasmus but of a crash without a bang, in short, a guillotine exchange. Lamellar.
Wanting to shield oneself in some way, moving forward on one’s stomach in an upright position. If all the bodies are agitated, what acts on the bodies?
All that remains is to slip into some other person’s wig. And then find in a friendly face the perfect mask. I’ll adopt it as a taker, as a caretaker or even just as a taker. Probably the important thing is to implant a detail that does not belong to us, so as to disown ourselves, so as to reveal only what we humanly know how to recognise, carnal processes to assist.
“Plié-Gué” by Abel Gonzàles investigates the body as a wearer, turning to dialogue and conflict between layers, own and expropriated. A call for the observation of a new skin, which strikes between the folds of the body by means of contact microphones that facilitate the investigation.
Maria Rodellas Monje handles her intimacy in two dimensions. By means of analogue photography, she structures a bond with the elements by making them react. She fixes a clear concept: to define her gaze. Then she modifies it at the root. Two installations for snapshots remodelled like flaps of skin, a craftswoman’s composition, an old dress for a new body.
“Carta di Identità” by Alejandro Guzmàn brings to the stage the artist’s journey towards obtaining an Italian identity card, recalling his own genealogy and confirming the generational change as a revolution of the past itself.
Julia, digs into the invisible. Invisible frequencies brought to light tell of a duel between two archetypal knights. A shootout beyond the wound, a conflict that invokes the body material rather than the body as a whole.
