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USING FEELINGS TO GET RID OF FEELINGS PART II

Performance by A Constructed World

Exhibitions

Case Chiuse #05

Photo Credits: The artists and Marsèlleria, Milano

Courtesy: The artists, Marsèlleria, Milano and Case Chiuse by Paola Clerico

Photo Credits: The artists and Marsèlleria, Milano

Courtesy: The artists, Marsèlleria, Milano and Case Chiuse by Paola Clerico

Marsèlleria
via privata Rezia 2, Milano

November 22nd, 2018

USING FEELINGS TO GET RID OF FEELINGS PART II

Performance by A Constructed World

Presented by Marsèlleria in collaboration with Case Chiuse by Paola Clerico

With Ginevra D’oria, Ilaria Bonacossa, Paola Clerico, Mirko Rizzi, Elisabetta Nuti, Stephanie Lin, Fabien Vallos, Luisa Mazier, Henrik Blomqvist, Sergio Bertola, Fabrizio Vatieri, Damiano Bertoli, Simeone Crispino.


On Thursday November 22nd, 2018, Marsèlleria presents, in collaboration with Case Chiuse by Paola Clerico, Using feelings to get rid of feelings, performance by A Constructed World.

A Constructed World bring the audience and invited performers into a conversation about objection, the need to consider where-we-are-now-together, big hands, each others’ feelings, the possibility of trust, and being in an inoperative space for a few minutes while we taste food together.

And with an undertone of urgency.

Mirko Rizzi and A Constructed World met in a disused elettrauto shop in Turin, Paola Clerico’s moving space Case Chiuse, relocated on the occasion of Artissima, November, 2017. Over the four days of the fair, Paola Clerico provided a patient stream of people who talked with A Constructed World about the possibility of changing the relation between the collector and artist, focusing on exchange, rather than the object and the artists’ relentless becoming.

After a brief interview with Rizzi, A Constructed World offered him their Collector Agreement to consider:

— Ok, I’ll sign it. (he said, opting for the second established level of the contract)

— Is there anything you want to know?

— No, that’s fine.

— Don’t you want to read the contract?

— No, I trust you.

‘I trust you,’ he said.

Mirko was so far ahead he got behind the project that Paola had so lightly and pertinently presented. Signing the agreement, Rizzi agreed to meet regularly with A Constructed World, make an account of these meetings, and together re- think the roles and repertoire of producer and consumer.