BURNIN EMINA
“Dada is the groundwork to abstract art and sound poetry, a starting point for performance art, a prelude to postmodernism, an influence on pop art, a celebration of antiart to be later embraced for anarcho-political uses in the 1960s and the movement that lay the foundation for Surrealism”.
Sinopsis
Cross, performance, erotism, madness, scratch running into the vital space of people that you meet in the street.
For 90 seconds. The man (Bennet) holds the cross that is a transit element, the fulcrum of the quick and drifting relation between the performer and the people passing by.
The dinamics of the exchange is sudden but at the same time invasive, the man makes a sign on nude bodies that show themselves to the camera. Then it leaves them. Later takes them back, one after another, scratching them on the film, again and again.
The cross lands on the nude skin freeing the female body from a secular repression, or signs the skin and body thus becoming a gesture of self-censorship against a sexual liberty that is too ostentatious.
The people in the street curiosly watch, taking part of the growing excitement, palpable, that preceeds the movement. The erotism becomes sublime during the preparation, at the moment the individual collects the provocation, accepting to become the main character of a game with parts that are not defined.
BURNIN’ EMINA
AN OPERA BY
BENNET PIMPINELLA,ALESSANDRO CHIODO & SIR BOB CORNELIUS RIFO
The New York international indipendent film festival
Wednesday, July 28TH 2010
nyfilmvideo.com
burningemina.com
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