choreography paola bianchi
installations ivan fantini
on stage paola bianchi
first video: film by serena saltarelli, editing by paola bianchi
second video paola bianchi and ivan fantini
production adius, agar
in collaboration with blusuolo III
2002 | 2012
… and we that are free beings,
one cycle we are slaughtered,
one cycle we are butchers
G. L. Ferretti
adius utòpia is an installation of the intervention aimed at affirming
the truth of the act enjoyed by and/or deniable to the individual; it
is an aesthetic of the irruption which unhinges the everyday habit
through reality; it is contamination of the disciplines aimed at
widening the horizons in thinking/creating of an artistic act and the
individual as an artist; it is the fifth-fourth on the stage with no
false moralisms as ransom of tradition and creativity opposite to
waste, incarnated with the value of a status symbol and perpetuated by
the new economy. Terpsichore and Gasterea broadening creations,
impossible to repeat and lost forever.
The fifth/forth originating adius utòpia includes head, tail, trotter,
and all the pig’s entrails, sum of some proteins often ignored,
condemned and refused proteins in the name of the absurd prejudice
called disgust.
adius utòpia exalts and valorises all that is remaining of a
slaughtered swine, when you have cut off his four fourth. The
fifth-fourth, called inferior butcher’s cut, cheap, able to satisfy
alimentary necessities for everybody, becomes, for society with
advanced economy, a secondary product and it supports the economical
increase of first-quality cuts.
adius utòpia doesn’t support alimentary by-products, canners’
enrichment of food for dogs and cats, consumism and deviated
alimentary habits.
On the contrary it exalts tradition, when tradition creates (invents?) creativity. Ancient intuitions, memory, cultural values.
In adius utòpia the fifth-fourth’s stage-scenary is intertwined with
the human slaughter house, as an aseptic, antiseptic, claustrophobic
place, where every day human beings find it hard to live.
