Art Rotterdam, Intersections 2017
‘I need you, I don’t need you, I need you, I don’t need you
it ain’t right to need someone as much as I depended on you’
The human need throughout history to romanticize sorrow through moving images, re-enactments and drama, reveals the timeless need to move and be moved, to satiate this particular spectrum of feelings, in an innermost self-flagellant tendency, to the point of ridicule and cliché.
The installation that lingers on the aesthetics of sorrow and the means of its visualization. In this regard the approach is of pure fascination towards the “emotional porn” bombarding viewers in endless occasions. Refering to sad, romantic soundtracks, dramatic movie scenes and cemetery sculpture. Sad violin (de-) crescendos, contra posed images of teardrop-tattoos, a Kleenex package made of marble. Blue lighters containing small frases and words refering to love songs, sayings and film-quotes.
The performance creates a narrative where the character mechanically evokes and recites the different aspects of a relationship, supported and guided by the dramatic element of the music.
Marble kleenex: Mikkel Holm Torp
Lighters: Ott Metusala
Photography: Hortense Lauras
Performer: Francesca Burattelli
Sentimental conditions 1-5
the viewpoint expands,
inside and around corners of the
possibly, maybe- desired object.
The duration and display may differ
from subject to subject
but the elements and transitions stay the same.
I picture you there-it was- a necessity,
this was, inevitable.
Recognition is tender in retrospective –
preferably in slowmotion.
A light from behind the eyes is what they used to enhance,
All other subjects in the room –
this is the main character. Closer- Extreme arousal,
violin crescendoes in one, two, three movements.
The sight too hard to handle, to endure,
to bright to be real, true that.
At last! it has come along. Angel face.
Moving closer to each other
the parts tremble and stray,
longing for collision- finally combine.
2. The assimilation
The desired object becomes a subject.
The initial vision unfolds, layers unveiled.
The proudness of the hunter,
once the prey is found to be –
greater than anticipated.
It results in excitement and fear,
the basis already faltering,
the ground fertile for absolute change.
Here it begins
a long and complex process
An undoubtable coalescence.
A time of flickering memory
and absolved egoes.
3. The confrontation
I need you, I don’t need you, I need you,
I don’t need you, I need you! I don’t need you.
4. The separation
it ain’t right to need someone as much
as I depended on you,
i’ve got everything I need, I’ve got petrol in my car
but above all this
we’re tangled up in blue,
we tie ourselves in knots
and so it is
a state of emergency
you just keep me hanging on
I suck my tongue in remembrence of you
5. Solitude and remains
Time can do so much
We used to go to cemeteries.
To walk in the sun, or mostly to look at statues.
To look at how the fabric folds in marble.
To see how hands hold in marble.
To see how faces cry, in stone.
We used to go to cemeteries and walk, and sit by benches or in the grass.
The southern cemeteries are different.
There, you don’t sit, you grieve.
Or look at the statues that grieve,
when people forget to do it.
Now other places have become cemeteries.
Cemeteries are everywere.