“As above – so below, as below – so above. As inside – so out, as out – so inside. As great – so small, as small – so great.For everything that exists on earth, there is a match on every level of consciousness.Your outer world is presented to you, depending on how you’re inside. In contrast, the outer world is your mirror. If the inside changes, it changes everything around you.Your inner world is presented to you, depending on how is the outer. In contrast, you are the mirror of the outer world. If the outside changes, it changes everything within you.”
Ermete Trismegisto /G.V.G_ V.P
Cum4Nina is the upcoming choreography by Giuseppe Vincent Giampino and Valentina Parlato.
The main subject of research is the interstitial space between the desire and the set of actions that involves the satisfaction of it.
The work is thus performed through a succession and overlapping of aesthetics triggered by the libido; the primary focus, however, is not this energy in itself, but rather what nourishes and supports it.
C4N is, therefore, a work on what we think while we fuck, on the architecture of desire, on the imagination which serves and sustains the satisfaction of pleasure.
The choreography is centered on the creation of Nina, the one that contains us and we take in, able to penetrate the human limbs and mold the material alive in her own image.
Nina is both subject and object and we, as desiring beings, are the means by which Nina occurs. Nina and us, we are simultaneously each other slaves and masters because only through our mutual interaction we all can give birth to our primary entity: the Desire or the primordial creative energy.
Nina is hermaphrodite light, blind light that passes through the forms
She who feeds all things into her sweet pussy, keeps the Magdalene in her womb and the Madonna between the eyes. Sheltering the Christ between her fingers, she whispers: ” give to Nina what belongs to Nina ”; when she cums, the earth shakes strongly and consciences are wide open. By her pleasure tsunamis take form and by her passage mouths all hatch.
Nina gives herself in the streets and in the parlor, she does not know the languages but owns 69 tongues that she uses expertly to heal the penitent’s holy wounds.
With the eyes of Nina we experience the pleasure of flipping ourselves into the established ideology.
By wearing Nina’s lenses we observe the priestesses of desire, we sit astride the Moloch and swing inside Miley Cyrus: while we let ourselves be seduced by every constitutive element of Miley, we recognize the roles that she embodies, as Nina recognizes what constitutes her outside of herself.
Nina is holy, mother and whore, MILF and Lolita, sugar daddy and toyboy, she disguises herself as a macho to de-construct it, she contains all the desires and she creates a specific avatar to satisfy each of them. She embodies so many goddesses that goes into a coma and back, free to imagine herself again.
She is the presence of the lack thereof, she is the deus and the machina, she is the voyeur and the object of desire, our bodies are the keyhole through which Nina looks at herself;
Nina is the abyss, and all that we use to fill it.
Nina is a magnifying glass, a scientific instrument for the analysis of reality, under her lead the different aesthetics of the piece overlap and fade one into each other. They are continuously driven by the fluid gender relationship between the performers who try to go beyond any possible dichotic power-relation.
The performers are constantly engaged in the creation of their own architecture of desire sustained by a libidinal landscape through which they dive into the choreographic structure.
The interaction amongst the performers and the audience is an important aspect of the work. It is driven through different modus operandi, from the use of social networks – to get the audience involved during the live performance – to the physical engagement throughout specific collective practices.
In this piece the human body is intended as both producer and object of constant desire and imagination and the audience is invited in this body to undertake a journey within the personal and yet political inner articulation of pleasure.
Nina stands still in front of the tsunami_ Nina faces floods, wars and disasters with deep rhythmical breaths_ Nina embraces the catastrophe and forgives it_ Nina sings even when she falls.
“…German band Rammstein is often accused to flirt with the nazi militaristic iconography but if one observes closely their show one can see very nicely what they are doing (exemplary in one of their show reise reise)
the minimal elements of the nazi ideology enacted by them are something like pure elements of libidinal investment.
enjoyment has to be, as it were, condensed in some minimal tic, gestures which do not have any precise ideological meanings. What Rammstein does is to liberate these elements from their nazi articulation. He allows us to enjoy them in their pre ideological state. the way to fight nazism is to enjoy these elements ( ridiculous as they may appear) by suspending the semantic nazi horizon. This way you undermine nazism from within. How does articulate pre ideological elements?”.
Slavoj Žižek, Pervert’s Guide to Ideology
Concept, Choreography and Performance: Giuseppe Vincent Giampino and Valentina Parlato_ Duration: 45 minutes approximately_ Advisor: Lucia Di Pietro_ Stage Photographer: Simone Sapienza_ Media Communicator: Libera A. Aiello_ Support: Diaria Didattica Arte Ricerca Azione/Dimora OZ _Contacts: Giuseppevincent.email@example.com/ firstname.lastname@example.org_Status of the work: currently looking for co-production.
_Nina Says: ” to talk about fucking is like talking about politics, but clearer.”