Urinney Dinngo

It's 2019: a totalitarian odyssey. Cold winds. Death pulse. Dancing and eating, with penguins and tortured humans screaming in the abyss of death. Every year they travel to the coast with the intention of dancing and then die. All over the world, there's more than meets the eye. Land and sea to share. Red, yellow, black and white. There's darkness and there's light. Sad stories are told, but it's good to be alive.

A film about the urgency and brevity of life. Desire and delirium in the approach of the olimpium of death.

Presented at the hall of the rejected in 1863, Lunch on the Grass by Édouard Manet bewildered many judgments of his time. In 2013, Gurcius Gewdner refiled the work. In the image, while the gentlemen are talking to each other and a kind of nymph is bathing behind the group, a naked woman looks at the viewer with a questioning look. A female figure who is neither placid nor modest, nor cornered and sustains a question in her eyes. Through the body, for unexpected carnal reasons and for the Dionysian celebration of a joyful existence, the individual deviates from his condition as a flock. Bewildered sheep that can then find a new north, which is delight and question, surface and mystery, beauty and strangeness.