Pink Squirrels Outrun is the first visual analysis of a dialogical relationship that develops between the defined period post eighties and its counterpart post nineties. Disguised as advertising automotive still-life, Pink Squirrels Outrun is actually a visual test of an installation's concept. The "generational catharsis" on which is written the word "end" is nourished still in an echo, found in the fluidity of inter subjective relations. As if that cocktail called Pink Squirrel serves as fuel and main theme of individual experience, proper of the view's mechanism, of the warn, to swim and reach the deeper self to become absorbed. The subtitle Outrun, however, suggests the antithesis: a drift, an overtaking of the border that does not come yet to discover, remains suspended. Is the same uncertainty that pervades the contemporary reports, speaks his own meta-language, full of references between fiction and reality, and semantic layers that bind the speech, then subject to any union or division, in being and becoming. And then, it begins to narrow the story of a fall, a collapse of marriages, a factor still far in the eighties, but already noticeable in the nineties, a trip from multiple directions within an automobile passenger compartment, which makes the screen a outer world, raising it in the virtual, creating an additional housing abstract. We live, in this short film, the experience of an exploratory trap syntax, which actually makes it visible only a small part of the external environment, the actual journey and then the point of arrival. We remain clinging to the delusion of a mind, isolated in a wrapper, dulled by a screen, where the only hint towards an escape is a drape that falls, responding to the concept of gravity, of transience.
The sports car of the nineties is strong enough to endure the rules of gravity, safely inside the cockpit. The only possible exploration is expanded inside the shell.
The vacuum outside. Out run.