Portraits of Pain: Unframing Desire
“There is nothing more useless than an organ”, said Artaud, calling for the liberation from all automatisms, so that one can finally “dance inside out”. Desire without law or psychology; possibly revolutionary eroticism. The film by Teresa Villaverde crosses and inspires the sessions. Sexuality, pleasure, motherhood, conjugality, friendship and violence freed from symbolism, refusing to be topics, existing in full before us.
PORTRAITS OF PAIN: UNFRAMING DESIRE
Livestock opens in a cattle fair where the gestures and languages swing between human purgatory and hellish order. Six Portraits of Pain features an extraordinary piece by Pinho Vargas and introduces the Christ element and the loving look, thus summoning the several world layers. Hard as Opal questions desire and motherhood in a world yet to create, falling into the silence of the elements, and retrieving the telluric and revolutionary strength of a question for love.
To the question “How to live together?”, Casper, the Friendly Ghost, or Artaud’s organless body, says: let us explore a promise of infinity in the interstices of the bodies and habits. Reinke refuses to separate life and the image of life. Dani and Sheilah ReStack throw pain into the vibration of movements between beings, and experience parenthood and conjugality, uniting desire and imagination. Between them, Artaud, a restless ghost, opens the auditorium to the abysses.
To Have Done With the Judgement of God [excerto / ...
Pour en finir avec le jugement de Dieu
PORTRAITS OF PAIN: UNFRAMING DESIRE 3
From solitude to the graciousness of the smallest gestures and touches: this session takes shape between two confining spaces, enhancing other ways of meeting. Mauro Hence returns to the ship in a moving chanted poem of men lost between what they feel and what they can’t say. In the film by Alexis Delgado Búrdalo, Renata finds in the camera a listener for her urge: to reveal herself in her glorious complexity, to be loved.