Adele Dipasquale

Starting from Anne Carson’s “The gender of sound”, the film plays around with the trope that classically associates women with irrational and uncontrolled outflow of sounds, more similar to the monstrous than the human — the opposite of rational, self-controlled, moderate in speaking man. Employing unpleasant sounds, high-pitched shrieks, and guttural groans, the film explores stages between femininity and animality.

The film explores the ‘Farfallino’ language, a coded versionof Italian used by children to secretly communicate between each other. In Italian, literally, farfallino means "language of butterflies", from the animal’s noun farfalla. The work starts from the proposition of a unintelligible communication capable of transpassing species through incomprehension. While employing mechanism of exclusion and inclusion, languages creates separatisms and possible alliances.

Focusing on the self-narration and visual language of the mounted police, ‘A horse is a horse of course of course’ reflects on how police horses are treated as just another of the many apparatuses police use for the maintenance of social control systems and their legitimation. While undergoing a special domestication process aimed at suppressing their instinctive flight responses to fear, horses become a means to impose disciplinary power in return. Originally a two-channel video, ‘A horse is a horse of course of course’ invites us to question the distorted mainstream cultural definition of policing. To start engaging with an abolitionist practice also requires radically decoding and refusing the oversimplifying language that police speak.

Inspired by the Winogradsky column, a late XIX century scientific experiment that recreates the first stages of bacterial life on earth, Blossoms, and fruits at once is a work that critically reflects on the human desire to go back to a primordial moment of existence, connecting local histories, geological temporalities, oral narratives, and magical thought.