UNDRESS / MOVING PAINTING

UN/DRESS | moving painting is a metaphorical performance that comes from the fusion of body and object with in a moving painting. It focuses on the exploration of changes and cloth migration, keeping the natural way of dressing and undressing the piece becomes an inquiry into the role of feminine clothing and body in modern society. The body is strongly present and at the same time absent, is the central point of unification, isthmus which links, hourglass of time, amplifies horizons indicating a crossover. The presence of Prussian blue fabric strips brings precision, regularity, direction and dimension, and at the same time establishes behaviours in the achievement of a purpose.

Selected for the NID Platform 2019.

UN/DRESS is mentioned in two academic publications in UK:

Acts of Undressing Politics, Erotism, and Discarded Clothing by Barbara Brownie, Senior Lecturer in Visual Communication all’ Università di Hertfordshire UK, pubblicato Da Bloomsbury Academic Publishers il 3 November 2016

UN/DRESS in “The Erotic Cloth”, Bloomsbury Publishing, spring 2018. Interview of M. Matsushita and Lesley Millar, Professor of Cloth Culture and Director of Textile Research Centre English Japanese at UCA

LA MÉNAGÈRE

In a space with black and white tiles, which reminds us of a kitchen, stands a woman, a housewife, dressed in a yellow overcoat. The sounds of a sponge scratching and a vacuum cleaner, compose the alienating soundtrack of the piece. The dialogue between movement and sound unlock the inner world of the character. Quoting the author Sheila Rowbotham in Woman’s Consciousness, Man’s World, La Ménagère explores the “neurosis of nothingness” as an outcome of the women’s lock down into a dissolving cyclical process, filling up to emptiness.

La Ménagère is the second part of Rebecca Journo’s diptych L’Épouse & La Ménagère, two solo pieces that portray archetypal feminine figures to raise questions about the space in between fantasies, performance and the so-called reality. As in glitch art, the obsolescence of such representations inspires the choreographic language to search for the ‘system error’.

Only participants who have been vaccinated against Covid 19 have admission to the event.