Concept, direction, choreography, set and costume design PIETRO MARULLO
Sound designer JEAN-NOËL BOISSÉ
Assistant to the set design DIANA CIUFO
Assistant to the dramaturgy MARIANNA CIFARELLI
Dancer ARIANNA KOB
It was born in me the desire to reflect and work on the idea of an archive, to put together an enormous quantity of images. Images of Western culture. I felt that that “tension there to hold together” would be my detonator. […]
However, it seems to me to glimpse two common elements that echo underground rivers that cross the great continent of Western art: I am referring to the veil concept and the figure of the woman. […] From a historical perspective, it’s precisely after the Second World War that the veil, that is the support of the image, begins to “speak”, to show itself as such. […] Scholars like Stoichita have not hesitated to compare Lucio Fontana’s cuts to Christ’s wounds side in the depictions of the Crucifixions, Passions, Pity, etc. So the veil leads us, in this very fast meta-medial reflection, to the concept of wound.
[…] The nerve centre is in my opinion in Hans Belting’s words when he announces that: “The history of art as a discipline isn’t dead yet, its methods are obsolete”, referring to Yves Klein’s operation of using the flamethrower to literally “burn the image” making the productive act of the image (the burning) a performative act. A creative action.
Following this perspective, it’s interesting for me to grasp a milestone of visual and performing art, that is, of representation: that of the wound. My project is therefore a question for the viewer: what is the wound of Western culture?
— Pietro Marullo