"We weren't particularly interested in historical references in performance. We were more interested in dealing with the very ambivalent Futurist approach to women—on the one hand they fear and loathe them, on the other they ’re secretly enraptured and entrapped by the feminine. The whole thing started for us with a short fragment of a text entitled Comme si nutriva l’Ardito (How the Shock Trooper Nourished Himself ), where a young soldier proposes that one sever a woman’s legs and torso, devour them, and keep her cunt in one’s backpack. Woman is reduced to a pure object, a pleasure-tool. He removes all obstacles, devours everything that is weak and sentimental—that is, everything “feminine”—so that he may trap these sensations within himself, thereby reducing the need for women to the basic mechanics of sex. There’s a recurring theme of the body as a vessel, a vehicle, armoured, impenetrable (from both directions)."
Soto & Chemin in conversation, January 2010
November 2009 - Performa 09; May 2010 - Door Studios / The American University of Paris
created by Carlos Soto & Charles Chemin; installation Christian Wassmann; music Tristan Bechet; with Nicolas Cartier, Jennifer Dees, Clara Galante, Elke Luyten, Joshua Seidner, Alice Stern, Anne-Laure Tondu, Mai Ueda
produced by Luisa Gui and presented by the Italian Academy and the Department of Italian at Columbia University
developed in residency at the Watermill Center, NY.