Greta Desirée Facchinato

Silicone implants, body fillers, foam pads and lingerie that lifts the flesh from falling into the natural force of gravity. We see naked bodies on screens, though we are still scandalized by natural raw nudity. The project arises from an interest in aesthetic implants. Soft shields, usually hidden under the skin, causing the observer to oscillate between temptation and repulsion. Viscosity and agglomeration, naked flesh and designed shapes, organic and artificial, freedom of power and populist criticism, abandonment and control. Everything becomes swollen and almost on the verge of breaking. Project in collaboration with Raquel Sànchez Gàlvez and Yres Isabella.

he performance In-Corpore will touch on the concepts of incorporation, ingestion and digestion. Starting from Derrida’s reflections on Hegel’s concept of Erinnerung, which means both memory and interiorization, the focus will be on bodily parts disappearing into a cannibalistic act. Our mouth gives the permission to intrude its cavity. Anything which is swallowed becomes the filling of our body: eventually its casting, the shell . We are like a living sculpture in constant absorption. To cast the body. To mold the body or to make an other body molding? The body withdraws in the moment of its creation and by doing so the other is absorbed into a digestive system. This encounter is important, the presence of the Other, the body of the Other, since it exists to serve the assimilation of oneself. The spiral of encounters and digesting is permanent, through banishment and reconfiguration. While some of the performers activate the elements of the installation the others configure its visual and audible outcome. The activated objects will consist of shaped edible gelatins of different consistencies, flavors, textures and colors which resemble of difference corporeal materialities such as viscous plasm, friable body tissue, soft flesh or rubbery sinews. Insinuating more than illustrating these characteristics, the physical work is then experienced by subtraction. As a negative counterpart the sounds produced are nothing but the fantasmatic product of the body detachment from its skin, its evasion. In collaboration with: Cristiana Vignatelli Bruni, Paulien Bekker and Raquel S. Gálvez.

In collaboration with Raquel Sanchez Galvez and Cristiana Vignatelli Bruni. Disrupting is a condition. We constantly create disruptions. Daily. We disrupt from our conscious selves when dreaming; from our beloveds when leaving. Again we create disruption in our routine gestures: as separating the garbage as cutting a chicken filet to eat dinner. Actually, we ourselves, are a disruption: our internal digestive organs are there to metabolize a chicken filet together with all the rest of the garbage that, at the end of the day, needs to be expelled from the body. Still, we are scandalized by everything that recalls our fleshy nature. Is this why we create siliconate versions of ourselves? In order to forget that we actually are the same as that chicken filet? Which eventually will be garbage? First engorgement and then scattering and abjection. The artificial gummy plasm returns to its thick, sticky crudeness and escapes from its unbearable/irrecuperable shape; while tempting protuberances can degenerate into a mucous jumble of self-wetting flexible material. Still, we might find ourselves engrossed in a moisturized gelatinous idealization of the actual discomposing and disturbing event. Gestures and sounds emphasize us as bodily disruptors and recall the props as a fleshy enactment.

"Can you feel me ? I am cold. I am heavy. Sedimented. You have no choice but to wait for the sediment to settle on your skin. You allow to let my very cold fine particles to change your facial body-temperature. You are warm, I can feel you. I am a stone. I am the shell of the person you are coming to be. Could you live outside your shuck? Soon you would be dead, the empty shell of your body to be left crumpled in the clean bed sheets. To hide the blood, revealing your clam. Who does your lid belongs to? Still hold me, how tight you can. Where can your warm flesh snuggle closer, trying to absorb my cold skin? Soft tissues. Hard armour. Can you feel me? I am finding a hideout for the body." One by one listening session.

For this episode of Ephémère at Studio Loos, Den Haag, the artists Cristiana Vignatelli Bruni and Greta Desirée Facchinato collaborated for the second time, investigating the sense of touch in relation to the elusivity of sound. A chance to catch epidermic fluctuations through a real time improvisation. “[Touch] is essentially, a sense of force. Our concepts of force would be very much less well developed were we unable to feel pressure, or to sense competing forces in which an equilibrium is established so that no movements are produced, yet in which the forces can still be felt.” ( E. H., Weber. E.H. Weber on the Tactile Senses, 1846, p.196)

A one by one performance where the audience is invited to engage through the senses of sight, touch and listening. The project emerges from an interest to the body of the listener and its status in our contemporary society. Whereas the individual lives as a bubble in foam - we tend to touch each other but only through our external membranes. Here, the costume of the performer is reconsidered as a hidden stage. The materials mainly involved are memory foam and the lycra textile typically worn by dancers - as nude costumes. Materials which are commonly used to isolate and to filter what is supposedly wanted to be revealed. The shape of the costume-stage itself seems an organic, bodily appendix: it invites the audience and the performer to come closer, to reach for a hug, to meet, even though still distant. To snuggle and to penetrate, to sink in or to stretch towards the inside, towards the outside. A body which inhabits an another body. A moment of isolation. An intrusion in a corporeal cavity.

We Are All Ears. The title, a word pun that challenges the original idiom “I am all ears” - commonly addressing to the moment when an individual underlines dedication towards an another auricular source. We Are All Ears incorporates the notion of the verb “to be” as an interest to analyse aspects of personality, entity and awareness related to the 21th century Western society within the experience of the ears. Aspects of the self and of the community are highlighted through the extensive study of the technological device of the headphones. Analogies are created between Sloterdijk’s critique of our “foam society” and the materiality of foam, mainly present in the sonic world as insulator. We Are All Ears suggests a corporal and bodily attention too. The notion of space is related to the body as the actual origin of sound. If we are all ears does it mean that our senses have a dominancy on our minds? Interior and exterior voices constantly alternate each other, overlapping through brief concessions. Concessions that are similar to the one of donating a key to open or to close a door: an imaginary door, because as we know, ears do not have lids.

"Queen Goddess, Precious and Structure, through Movement". A collaboration with VITRARIA GLASS +A Museum, Venice. The museum and the incredible Diane Venet's jewerly collection - in occasion of the exhibition "Precious - da Picasso a Jeff Koons". Features of geometry, structure, and preciosity of these objects: a female body. Sound and movement melt into visual art, through the gesture of painting. It takes shape a sort of ritual: the woman becomes queen and goddess, enclosed in a painting formed by triads, like the diamonds' structure.