https://pacafarucci.com galafaraus.com Tue, 04 Jul 2023 11:00:37 +0000 https://pacafarucci.com en https://pacafarucci.com/quotes Tue, 04 Jul 2023 11:00:37 +0000 galafaraus.com https://pacafarucci.com/quotes ︎ It is no measure of health to be well adjusted to a profoundly sick society. — Jiddu Krishnamurti Truth is a matter of the imagination []. Facts are no more solid, coherent, round and real than pearls are. But both are sensitive.— Ursula Le Guin The only lasting truth is change. — Octavia butler The most anti-capitalist protest is to care for another and to care for yourself. To take on the historically feminized and therefore invisible practice of nursing, nurturing, caring. To take seriously each other’s vulnerability and fragility and precarity, and to support it, honor it, empower it. To protect each other, to enact and practice community. A radical kinship, an interdependent sociality, a politics of care. — Johanna Hedva Playfulness is, in part, an openness to being a fool, which is a combination of not worrying about competence, not being self-important, not taking norms as sacred, and finding ambiguity and double edges as a source of wisdom and delight. — Maria Lugones What’s more collective than autobiography? Nothing. — Edouard Louis Days I feel like a human being, while other days I feel more like a sound. I touch the world not as myself but as an echo of who I was. — Ocean Vuong Sculpture is about changing the shape of a material, and in social sculpture, the materials are the ideas and relationships of a community. — Pedro Reyes The master's tools will never dismantle the master's&nbsp;house. — Audrey Lorde I´M ONLY TAKING BACK WHAT WAS NEVER MINE TO ACCESS. — Parisa Madani Self-preservation is an act of political warfare. — Audre Lorde The weird set of experiences that we call childhood stands outside adult logics of time and space. The time of the child, then, like the time of the queer, is always already over and still to come. — Jack Halberstam Les actions que nous menons en pleine lucidité ne sont que des îlots dans un archipel de rêves. — Paul B. Preciado The new tribalism is about being part of but never subsumed by a group, never losing individuality to the group nor losing the group to the individual. The new tribalism is about working together to create new “stories” of identity and culture, to envision diverse futures. It’s about rethinking our narratives of history, ances- try, and even of reality itself. — Gloria Anzaldua I can see how the aversion to dependancy in modern industrialized societies was formed and leads to struggles in connecting. Many believe this disconnect to be at the root of pain and suffering. — Zinzi Buchanan i’m not sentimental about writers. But I’m inclined to think that most writers, and most other artists, too, are primarily motivated in their desperate vocation by a desire to find and to separate truth from the complex of lies and evasions they live in, and i think that this impulse is what makes their work not so much a profession as a vocation, a true “calling”. — Tennessee Williams envy is the only sin that gives no pleasure The organization ‭‬of the entire economy toward the ‘better’ life has become the major enemy of the ‭goodlife.‬ — Orla O'Donovan If we're gonna heal, let it be glorious. — Beyoncé One of the biggest lessons of my transition is that I will not always understand why something works for me. So the first step was not analysis but celebration. I realised I was a woman and jumped on that gender-bus screaming ‘DRIVE DRIVE DRIVE’ because at last I could see my direction. I could see where all this femme experimenting (or ‘femsperimenting’) was taking me. If you yourself are questioning your gender I wholeheartedly recommend following your pleasure rather than your logic. It was fulfilling in a way I hadn’t known before. — Sal Aitch The key problem with ‭ ‬modern‭ ‬professionals is their claim to a monopoly on what they do. — Ivan Illich Nothing can cure the soul but the senses, just as nothing can cure the senses but the soul. — Oscar Wilde Cure is a medical intervention, but healing is becoming whole. — Anna Halprin We learn love through recognition. When u give me recognition, when u see me as i am, the word respect comes from a latin root meaning to look at. So when u see me and you affirm me that’s part of allowing me to be a subject in the world. — Bell Hooks Children cannot be what they cannot see. — Maria Wright The anchor is the oldest symbol of hope. — Adriene Mishler To talk from one’s shame is to affirm not fitting; to the rules, the norms, the musts. — Edouard Louis I can now recreate life in a way that was hidden to me before. — Oscar Wilde It’s proven that lesbians give back their books to the library late. — Yvonne Rainer https://pacafarucci.com/Gala-Farucci-s-biography Mon, 26 Jun 2023 15:10:57 +0000 galafaraus.com https://pacafarucci.com/Gala-Farucci-s-biography Gala Farucci’s biography by Collettivo Dolce Agonia Gala Farucci was born on August 1st 1983 in Torino, north Italy, to tayloress Patricia Farucci and car designer Jack Singeltitt. The last of six daughters, she grows up by the fields of San Rocco, the village where she spends the first 17 years of her life. A hyper-tempered child, she dismisses the boredom imposed by school teachers and usual conversations, as well as the jeal- ousy of her sisters: as the youngest child, also the only trans- feminine, she receives much extra attention, freedom and pro- tection from her parents than any of her older sisters. Lonesome and joyful, she soon dives into imaginary travels, friends and deeds. At the age of six years old she discovers the theatre realm through her mother, who works at the Teatro Reggio. There she finds people relatable, funny, shallow also, but warm. She develops a passion for both costumes and acting, and forgets about school. Gala grows into a rather introvert teen, socially quiet, boiling inside. She shines on stage at the local theatre school, or at school concerts with her punk band Pecora Viola. Away from the stage, she smokes hash, draws clothes and dances on emo 1980s synthesizers. When she is thirteen a teacher refuses to let them enter the classroom unless she takes off her pierc- ings; she tells her parents she will not return to school and they find her a spot at the Torino Montessori school. There, sex education classes reveal her to her felt gender and she swiftly imposes her chosen name, which her family and close friends smoothly welcomes.She lets go of acting and feels increasingly drawn to dance. After a prep year, she enters the conservatory at the age of six- teen. In high school she starts to develop a strong interest and involvement in political affairs, at both local and global scale. At eighteen she enters the prestigious school La Fabricca di Menti, Torino, for a five years program in politics and public policy. After one year she experiences a nervous breakdown resulting in hospitalization. She quits both the school and the conservatory. At the clinic she meets Lupa, another transgirl, whom she in- stantly bonds with. They mess up art therapy classes, try all drugs available at the pharmacy, and dream about future plans. They also share intimacy, first experience of trans sex for Gala. Lupa tells her about the Neapolitan Feminielli, a population of people who embody a traditional third gender role in traditional Neapolitan culture, and to a lesser extent, in the rest of Southern Italy. They help each other out of the clin- ic-prison and flee to Napoli. The squat scene in early 2000s Napoli is as precarious as pro- tective. Gala discovers community and her fundamental need of it. Its power also. She joins grassroots association ArciTrans in 2001 for pro-sex work campaigns, starts organizing festive community events and initiates Femi Cabaretti. She also coor- dinates the distribution of hormones to trans peers (at this time, she herself is not —yet— taking any). In this new context she reconnects with her original passion for theatre and dance and starts creating shows with her Cab- aret troupe. Most of them are epic, eerie, clownesque and somewhat tender. Gala is scouted by a model agent at the local club Bambusa Babes. The Milanese is dazzled by her immense body, close to naked this night, and by her apparent symbiosis with the re- lentless house beat. She goes to Milan for a shooting and ob- tains her first modelling portfolio. She's instantly booked by Dolce &amp; Cabana for their spring-summer 2006 campaign. Its instant commercial at- tracts the industry's attention and soon Gala starts walking runways across Europe. In the first year of this unexpected career, she manages to go home to Napoli regularly. But as success arises and cash flow abounds, she trades her emotional stability for the material one —a frustrating dilemma which she will navigate through- out her life. Homesick, she falls in love with fart mogul Nele Brunschwig during an after party in Berlin. She leaves her squat in Napoli for good and moves to Berlin, where she enters an era of relentless clubbing financed by her modelling money. Her body reminds her of the specific state that dancing provided her with back in Napoli; she frantically dives back into it, alongside her —disastrous— relationship. She also starts indulging in psychedelics and various plea- sure-enhancing substances. In summer 2009 she undergoes her first modification surgery. She reads "The End of Eddy", which inspires her to create her own autobiographical piece. She spends her next days of re- covery writing it, despite the heavy load of pain killers. She sends it to her friend —Edouard Louis— who requests his agent to publish it. 33 encounters an unexpected success, and within a year Gala is invited to various universities around the world. The end of 2010 marks an abrupt turn in Gala's life: Brun- schwig breaks up, allegedly because of Gala's jealousy and un- fittedness to polygamy. She is also laid off by her model agency. At the same moment her father is diagnosed with liver cancer and dies within weeks. Her substance consumption be- comes a coping need instead of an expansion magic wand. Gala burns out and gets hospitalized for a second time in a mental institution, at Charité hospital in Berlin. She drops modelling and feels revulsed by the art world. This time around she has to receive care for three months. She starts taking new medication as a support for sustaining her intense mood shifts, attachment issues, depressive bouts and chronic anxiety. The clinic offers dance therapy and counselling. Both make her vital drive to move and to create resurface. She enters a long phase of recovery. She goes back home and asks her mother to teach her sewing, crocheting and knitting at a professional level. They experience the happiest days of their relationship. She also discovers meditation through Lupa, who forgave Gala's dismissal during her Berlin years and initiates her to Vipassana technique, which Gala will say "it's the most powerful tool [i] ever received to cope with this wreck of a life". After few months of grief, calm, regular medi- cation and physical reboot, she feels the drive to the stage again. The same summer, another major turn is about to happen: the words "Fatine Radicali" appear in her mind during one her long morning meditations. Her memory brings those terms back to her, supposedly from overhearing a conversation in her past squat. She researches if they mean anything... and they do: she discovers that Fatine Radicali is a community of gender nonconforms in the Italian Alps, close to her home. She rushes there and stays for six months. Her longing for col- lectiveness is revived, as much as a creative urgency. She is in- spired to shoot a film, as a form of testimony of the first inter- national trans gathering of the commune. The film is called "Rural Trans*" and will travel the world few years later. Leaving the commune, she wants to explore video-making and make more art, more dance, more collective projects. She ap- plies to art schools with her film and a self-recorded dance solo. Goldsmiths university in London offers her a spot. In 2012 she moves to London and starts a long phase of expan- sion. She discovers an impulse to work with sculpture and design and puts aside the video medium. Fully absorbed in her studies and new life, she enters a prolific phase of artistic creation and by the end of the program she is already commis- sioned in a few alternative and influent art spaces. She (re-)creates MAGIC COFFIN&nbsp;in her third year and has it shown at the Barbican Art Gallery for its annual New Talents Week. She starts hormonal treatment the day of her arrival in London. Soon she is contacted by modelling agencies again and choses Gloss Models. She gets acquainted with the milieu in London —where she receives the nickname "Orlando"— and walks the next year outside Europe, especially in Tokyo where her size and wit quickly attract the casting directors. In London she sustains herself with modelling money and this time around she stays on her —sober— feet. * Her contacts in the fashion world and intuitive affinity with clever art actor_esses expand the reach of her own produc- tions.Between 2014 and 2017 she creates the trilogy YOUR MOMENT, HEE-HAW&nbsp;and&nbsp;HUMMING SOIL&nbsp;and dances for multiple friends' live shows, reconnecting with her stage persona. Bored by university, she drops in third year and focuses on her two careers. *Dolce Agonia does not support the industry of luxury goods. We reject the relevance of showing in this exhibition pictures of Gala Farucci on the runways. As non-author of those images, she herself supports our decision, but requested the presence of her first and last shootings, for her friends Dolce&amp;Cabana and Elisa Schiaparella. At the age of thirty, she starts missing the Italian Alps and longs again for the commune. She decides to have a work hiatus and goes back to her long-time friends at the forest. She stays there again for six months, rests, visits her mother and refines her sewing skills, only rarely flying to capital cities for her show openings and major runway contracts. A year before Brexit, she finds a convent for sale in the near countryside of Torino. She buys it without a thought and de- cides to create a collective space to create art with her friends, without pressure or specific formats. "Fate di Casa" is inaugu- rated by transfeminine cultural minister Vladimir Luxuria; Gala's chosen family joins her within weeks.. During the next few years she shows a need and will to settle down, after over a decade of international mobility.Another life turn arrives: in 2023 Gala becomes the co-parent of two kids with her house friends. The strong desire for wel- coming children in the commune becomes reality as soon as Italy legally recognizes alternative forms of parentality. This marks the beginning of a joyful, lively, transgenerational life at Fate di Casa. Most of Fate di Casa's inhabitants are artists, activists, street singers and dancers. Their coexistence ignites Gala's funda- mental need to perform. She decides to revisit her sculptures and to activate them into live shows, oriented towards plea- sure strategies and relational bliss on stage. She forms the collective Veloce. They perform in village fests and a few night clubs. They use the forms of stand-up, club dancing, poetry and choir singing, interacting with Gala's decors. The collective slowly gains a certain aura, among vari- ous demographic groups. Andrea Liuggi, curator of the PAV—Parco Arte Vivente in Torino, comes across a video of a show and sees on the screen what she had long been looking for. After a legendary series of performances at PAV, more art in- stitutions show interest in her collective's live art proposals. By the end of the 2020s, art venues around the world offer up to 5 digit amount checks to host their shows. Gala's career and personal life experience a new great shift, as she is contacted again to model for major cosmetic brands, which now see beauty and power in ageing transfeminine bodies. This inau- gures a phase of relentless traveling again. At home she develops a choir and hires the Belarusian voice coach Katya Zhinh full-time at Fate di Casa, to support the multigenerational choir members in their vocal development. Simultaneously, Gala feels the need to transcribe all her per- sonal notebooks, which she dictates in an attempt to train and recover memory—the psychotropes she had to take since she was twenty years old had caused her increasing memory losses. She compiles them and releases her memoir Fino a Sat- urno, a brilliant and empowering anthem to self-definition and collective necessity. Suffering from harsh reviews, criticising the book for its erratic style, lengthy political considerations and absence of images,&nbsp;Fino a Saturno&nbsp;is a commercial flop —her close community is, on the contrary, warmly welcoming this new piece of transfeminine archive. Nevertheless, the works of Gala and of Veloce are touring both community spaces and major cultural institution, which passed their transition phase in the mid-2020s. Gala Farucci and her collective were lucky enough that gender noncon- forming, POCs and/or neuromisfits started to get generously funded by state institutions as well as private fundations, which allowed people like her to make art with relatable peers, without having to compromise on artistic choices to sustain themselves. The anti-ableist cultural institutions from the age of Aquarius continue their shift from a perpetuating structure in terms of demographics and artistic proposals to a multidisciplinary, multi lass, multiracial and multigendered direction, greatly enriching the westernized art production. In 2031, Gala is commissioned by the Guggenheim Museum to create a new art piece: she builds BIG SISTER, which is excep- tionally present in this exhibition. Gala's kids are now autonomous and have not —yet— wished to leave the communal house. https://pacafarucci.com/message-me Mon, 03 Jul 2023 11:57:00 +0000 galafaraus.com https://pacafarucci.com/message-me var ifr = document.getElementById("JotFormIFrame-231833649940059"); if (ifr) { var src = ifr.src; var iframeParams = []; if (window.location.href && window.location.href.indexOf("?") > -1) { iframeParams = iframeParams.concat(window.location.href.substr(window.location.href.indexOf("?") + 1).split('&')); } if (src && src.indexOf("?") > -1) { iframeParams = iframeParams.concat(src.substr(src.indexOf("?") + 1).split("&")); src = src.substr(0, src.indexOf("?")) } iframeParams.push("isIframeEmbed=1"); ifr.src = src + "?" + iframeParams.join('&'); } window.handleIFrameMessage = function(e) { if (typeof e.data === 'object') { return; } var args = e.data.split(":"); if (args.length > 2) { iframe = document.getElementById("JotFormIFrame-" + args[(args.length - 1)]); } else { iframe = 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data-src="https://freight.cargo.site/t/original/i/f52c8d8518883f6d31b667103b30d2a1f0dee0a57c943a6541346314532b8ad4/IMG_4785.JPG" data-mid="183993485" border="0" src="https://freight.cargo.site/w/1000/i/f52c8d8518883f6d31b667103b30d2a1f0dee0a57c943a6541346314532b8ad4/IMG_4785.JPG" /> <img width="2048" height="1536" width_o="2048" height_o="1536" data-src="https://freight.cargo.site/t/original/i/5bf53735111ee73093f13d7c404512a824ec6ca2466a64ffc2d9e28f8cb8ddae/9aba17e4-9fa6-4b64-9aab-0062d396bb35.jpg" data-mid="183993473" border="0" src="https://freight.cargo.site/w/1000/i/5bf53735111ee73093f13d7c404512a824ec6ca2466a64ffc2d9e28f8cb8ddae/9aba17e4-9fa6-4b64-9aab-0062d396bb35.jpg" /> <img width="2048" height="1536" width_o="2048" height_o="1536" data-src="https://freight.cargo.site/t/original/i/7d70c4aed468d64325ba0a2e658cfe37d99b08525ef37bfa65ef0e09a19176e0/adce42fe-e38c-460d-b8d9-23ff88ef134d.jpg" data-mid="183993478" border="0" src="https://freight.cargo.site/w/1000/i/7d70c4aed468d64325ba0a2e658cfe37d99b08525ef37bfa65ef0e09a19176e0/adce42fe-e38c-460d-b8d9-23ff88ef134d.jpg" /> <img width="2048" height="1536" width_o="2048" height_o="1536" data-src="https://freight.cargo.site/t/original/i/cec466fe95d1f1d46e7e2f14fae0399288a5611af8c3b72395157037a6625bc6/9.jpg" data-mid="183179337" border="0" src="https://freight.cargo.site/w/1000/i/cec466fe95d1f1d46e7e2f14fae0399288a5611af8c3b72395157037a6625bc6/9.jpg" /> <img width="6016" height="4003" width_o="6016" height_o="4003" data-src="https://freight.cargo.site/t/original/i/5869c0e3b5628e765631741f046846bb00155e06465631a666f1fd60ee282964/IMG_4809.JPG" data-mid="183993492" border="0" src="https://freight.cargo.site/w/1000/i/5869c0e3b5628e765631741f046846bb00155e06465631a666f1fd60ee282964/IMG_4809.JPG" /> <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/4da8a38a5e8450a4034d4d2157b957b48f293bdb58eb2ace24aa3f5e2cdab40f/IMG_9522.jpg" data-mid="183993511" border="0" src="https://freight.cargo.site/w/1000/i/4da8a38a5e8450a4034d4d2157b957b48f293bdb58eb2ace24aa3f5e2cdab40f/IMG_9522.jpg" /> <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/85d413ab5ad4d08281c157da9d7335331cb146bfaa6d57b16b05262ebe3cfff5/11.jpg" data-mid="183179372" border="0" src="https://freight.cargo.site/w/1000/i/85d413ab5ad4d08281c157da9d7335331cb146bfaa6d57b16b05262ebe3cfff5/11.jpg" /> <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/6e76ab08e3d14d89ad901fc31a55e4261e5a3edd027856d650a4bff310b0eb22/IMG_9543.jpg" data-mid="183993505" border="0" src="https://freight.cargo.site/w/1000/i/6e76ab08e3d14d89ad901fc31a55e4261e5a3edd027856d650a4bff310b0eb22/IMG_9543.jpg" /> “Gala Farucci Retrospective” is performative exhibition exhibition depicting the life of fictive transfeminine artist Gala Farucci, whom i embody during opening times, activating the different elements of the exhibition along complicits performers. From her Italian village to the white cubes of the Guggenheim, through her hardships and legendary shows in community spaces, the stellar career and life of transdisciplinary artist Gala Farucci is exhibited in this first large retrospective, curated by international collective Dolce Agonia*. An abundant collection of films, texts, costumes, artworks and actions are spread out in a lush biographical garden.. The artist is&nbsp;present, surrounded by Dolce Agonia's Sofia Castro, Antonella Fittipaldi and Peter Scherrebeck Hansen. Conception and scenography: Gala farausPerformers: Sofia Castro, Antonella Fittipaldi, Peter Scherrebeck Hansen, Gala farausAssistant curator_ess: An* NeelyExtra artistic support: Ana VujanovicCapture: Pablo Alanes and Nellie de Boers * Collettivo Dolce Agonia is a group of artists and activists thriving in their inadequacy, initiated by Paca faraus in 2016. Non-conforms of all sorts form its foundation, majoritarily composed of gender nonconforming, neuromisfits and POCs. The group is supported by numerous art institutions accross the world, sharing their views and interests. “Gala Farucci: First Retrospective in the netherlands” is a tribute to the legendary artist. 📖 Gala Farucci’s Biography https://pacafarucci.com/TANA Sun, 25 Jun 2023 09:19:47 +0000 galafaraus.com https://pacafarucci.com/TANA TANA <img width="1000" height="665" width_o="1000" height_o="665" data-src="https://freight.cargo.site/t/original/i/541ff5083fce89cbf64cffe31adccc997256a9147defebd2c3350f7374f2f300/2.png" data-mid="183182694" border="0" src="https://freight.cargo.site/w/1000/i/541ff5083fce89cbf64cffe31adccc997256a9147defebd2c3350f7374f2f300/2.png" /><img width="5632" height="3747" width_o="5632" height_o="3747" data-src="https://freight.cargo.site/t/original/i/e5fbe973179dc7c7349cf164dcae5ccd3449f64a3eaeee007643edf629b8654c/1.JPG" data-mid="183182640" border="0" src="https://freight.cargo.site/w/1000/i/e5fbe973179dc7c7349cf164dcae5ccd3449f64a3eaeee007643edf629b8654c/1.JPG" /> “TANA” is a performance created in close collaboration with four performers, including a live accordeonist, all sharing similar political, ethical and affective concerns. The choreography is based on the respective coping strategies, self-care tools and the pleasure activism of the cast, which we collected, studied and assembled. Close to nude, we unfold sequences of movements and performative scores, accompanied by extended live accordion chords. We thus create a poetic ecosystem of care for the self and the group, in which the audience is warmly invited, sitting close to us. "TANA" is a movement-oriented reflection on existential themes —death, rebirth, self-ownership, the intricacies of the individual and the collective, loneliness and communal empowerment— which favours the realm of intuition, awareness and subconscious. The piece insists on creating a space for non-conforming bodies to perform and exist within the arts. Choreography: Gala Faraus Ecosystemers: Billy Morgan, La Uyi Ihasee, Gala faraus, PussyFire, Tom·s(ystem) Accordion: PussyFire Vocal coaching: Tara Reece Dramaturgical support: Marina Orlova Extra artistic support: Ana Vujanovic Capture: Pablo Alanes and Nellie de Boers https://pacafarucci.com/Last-Crescent Sun, 25 Jun 2023 10:25:27 +0000 galafaraus.com https://pacafarucci.com/Last-Crescent LAST CRESCENT <img width="5303" height="3528" width_o="5303" height_o="3528" data-src="https://freight.cargo.site/t/original/i/354296dd28990c0d26c8f467e6e347bd9530746a05bf3f900bbb21e67e0fc0c2/1.JPG" data-mid="183184540" border="0" src="https://freight.cargo.site/w/1000/i/354296dd28990c0d26c8f467e6e347bd9530746a05bf3f900bbb21e67e0fc0c2/1.JPG" /><img width="3511" height="2336" width_o="3511" height_o="2336" data-src="https://freight.cargo.site/t/original/i/f907ad527d7efde608b3f45084e52d76f47b1816b8c81492ac8df59a72a4e75a/2.JPG" data-mid="183184541" border="0" src="https://freight.cargo.site/w/1000/i/f907ad527d7efde608b3f45084e52d76f47b1816b8c81492ac8df59a72a4e75a/2.JPG" /><img width="1483" height="2228" width_o="1483" height_o="2228" data-src="https://freight.cargo.site/t/original/i/6988cf07a175b7b91077e393551bc04db0e6a5528473cd1c7a471fcc6b076cfe/6.JPG" data-mid="183184545" border="0" src="https://freight.cargo.site/w/1000/i/6988cf07a175b7b91077e393551bc04db0e6a5528473cd1c7a471fcc6b076cfe/6.JPG" /><img width="1334" height="750" width_o="1334" height_o="750" data-src="https://freight.cargo.site/t/original/i/fe547ba09e5776b3168b39b29f179594e534abff79489a615579a534d67fdb39/7.PNG" data-mid="183184546" border="0" src="https://freight.cargo.site/w/1000/i/fe547ba09e5776b3168b39b29f179594e534abff79489a615579a534d67fdb39/7.PNG" /><img width="3810" height="2535" width_o="3810" height_o="2535" data-src="https://freight.cargo.site/t/original/i/9aade23d3b0afbc19fb61db394452e889219897e987acac495c54dce2b1a13ad/5.JPG" data-mid="183184544" border="0" src="https://freight.cargo.site/w/1000/i/9aade23d3b0afbc19fb61db394452e889219897e987acac495c54dce2b1a13ad/5.JPG" /> "Last Crescent" is a one hour scored improvisation of two dancers embodying a sensuous relationship to themselves and to their surroundings, in a desolate playground. It is also their last dance on earth. It is a choreography of regeneration, of interdependance, of pleasure- making in a global context of scarcity, and in connection to each other.. Their bodies are informed by an extensive&nbsp;rehearsal process&nbsp;of reasearching&nbsp;attunement, pleasurable sensorial experiences, trust-building through mutual witnessing, balance between self and collective awareness, in a pressure-free mindset. Danced by Tara Pula and Marco-Lee Safi Choreography, set design and costumes: Gala faraus Light design in collaboration with Katinka Marac Outside eye: Raoni Muzho Saleh Sound credit: Transcendental Meditation #6 by Raphael Reuter Captured by Pablo Alanes and Nellie de Boers "Last Crescent" is a resistance to the array of precarities affecting us artists in&nbsp;restrictive&nbsp;times.&nbsp;It is an ephemeral utopia based on self-and collective preservation through pleasure and&nbsp;attentive listening, in a felt context ofurgency. It is and represents a break from the&nbsp;overall&nbsp;systemic pressure to compete, produce, dominate, conform and believe in individual&nbsp;autonomy or self-sufficiency. It offers a temporary emancipation from stress, fears and obligations. While&nbsp;featuring a minimized pressure, this piece is a maximization of the luxury that a creationprocess represents in&nbsp;the&nbsp;early&nbsp;2020s: space and time for togetherness, for&nbsp;relaxing and having fun together, for communality, in an atmosphere of warmth and trust. Those conditions come as a boon and antidote to the scarcity which most of us partially or continuously experience: isolation, lack of space and therefore movement, poor access to physical and mental health, poor access to fun, laughter and relaxation, to&nbsp;financial and social&nbsp;safety,&nbsp;to name a few.&nbsp;"Last Crescent"&nbsp;aims&nbsp;at creating a crack in this scarcity and&nbsp;at&nbsp;using&nbsp;the stage to experience an alternative living. Another point of entry to this project is to create a space for&nbsp;aimless&nbsp;or outcome-free experimentation, with voice, costume, sound- and&nbsp;movement-making. Ultimately,&nbsp;"Last&nbsp;Crescent"&nbsp;is a process and a piece converging towardsinhabiting oneself, accompanied and witnessed by other beings in the space, all relating to&nbsp;one another in sustainable ways: negotiated, unstressed, interested and supportive.&nbsp;We&nbsp;thus create a pleasure ecosystem of dancers who thrive, in&nbsp;circumstances of decay. This ecosystem is informed with the notion of “the last day on earth” and operates according to specific principles: pleasure, singularity-affirming, interdependence,&nbsp;avoiding&nbsp;sense-making,&nbsp;rejecting pressure, attentive and intuitive listening, negotiation of needs&nbsp;and&nbsp;wants, autonomy, voluntary basis, non-representation and not being “good&nbsp;at”.&nbsp;We&nbsp;move&nbsp;together in&nbsp;the direction of creating a common&nbsp;language, not based on words but on movements, subtle body intonations, soft invitations,&nbsp;yet precise signals. This provides the structure within which (in)actions unfold freely&nbsp;and the frame for this&nbsp;scored&nbsp;improvisation. Each performer is given the possibility to shine and to hide, to solo and to gather,&nbsp;to be&nbsp;a&nbsp;virtuoso and to beinsecure, to expose&nbsp;oneself&nbsp;in plain spotlight or linger in darkness. The only&nbsp;requisite is to follow the principles mentioned above, whose incompressible version would&nbsp;be: respect, awareness, responsibility and most of all, pleasure. The notion of last day on earth is given to get rid of the unnecessary mind clutters, to come back to essential&nbsp;matters, according to the motto “dead soon”.&nbsp;i&nbsp;believe it gives the&nbsp;body and&nbsp;the&nbsp;mind a specific state which&nbsp;i desire&nbsp;to see on stage: less&nbsp;attention to&nbsp;the&nbsp;form,&nbsp;more&nbsp;to the substance. Less pleasing&nbsp;and&nbsp;more harmonious listening.&nbsp;The&nbsp;cancellation of&nbsp;the "future"&nbsp;also&nbsp;provides more space for the present, therefore for embodiment,&nbsp;or incarnation. And of course, for the beautiful intensity of a last dance on earth. This ecosystem is as delicate as precious, and requires a long inhabiting of the collective space. Attunement and pleasure go hand in hand in this project: they are its back spine, along which&nbsp;remaining&nbsp;creatures&nbsp;spend their&nbsp;last hour of life, their&nbsp;last dance before the end. https://pacafarucci.com/Rural-Trans Sun, 25 Jun 2023 09:19:46 +0000 galafaraus.com https://pacafarucci.com/Rural-Trans RURAL TRANS*21min film <img width="2880" height="1800" width_o="2880" height_o="1800" data-src="https://freight.cargo.site/t/original/i/2f13fab34cbf2b67c157ac5057ce8799895f057319fc04581957176beb1b8d5c/10.png" data-mid="183184154" border="0" src="https://freight.cargo.site/w/1000/i/2f13fab34cbf2b67c157ac5057ce8799895f057319fc04581957176beb1b8d5c/10.png" /> <img width="2880" height="1800" width_o="2880" height_o="1800" data-src="https://freight.cargo.site/t/original/i/23a9884367ab1114e2c991d81ecba8a1c369a787ff981e9d06e32c8bd5b31c67/9.png" data-mid="183184153" border="0" src="https://freight.cargo.site/w/1000/i/23a9884367ab1114e2c991d81ecba8a1c369a787ff981e9d06e32c8bd5b31c67/9.png" /> <img width="2880" height="1800" width_o="2880" height_o="1800" data-src="https://freight.cargo.site/t/original/i/d3f5073f0a31e53006bd2bf3e16275577bad25234263611c444cf8ad94a35d38/3.png" data-mid="183184147" border="0" src="https://freight.cargo.site/w/1000/i/d3f5073f0a31e53006bd2bf3e16275577bad25234263611c444cf8ad94a35d38/3.png" /> <img width="2880" height="1800" width_o="2880" height_o="1800" data-src="https://freight.cargo.site/t/original/i/b8b55d3f8eedf552a658f0836e5a7aabeb775b02fb3d3ed15e9518dde2f4d412/2.png" data-mid="183184146" border="0" src="https://freight.cargo.site/w/1000/i/b8b55d3f8eedf552a658f0836e5a7aabeb775b02fb3d3ed15e9518dde2f4d412/2.png" /> <img width="2880" height="1800" width_o="2880" height_o="1800" data-src="https://freight.cargo.site/t/original/i/c2deeb95d06226899e3a7ae183f3331b5a5c1ea6c4aa1881c0ecd195160afd35/7.png" data-mid="183184151" border="0" src="https://freight.cargo.site/w/1000/i/c2deeb95d06226899e3a7ae183f3331b5a5c1ea6c4aa1881c0ecd195160afd35/7.png" /> <img width="2880" height="1800" width_o="2880" height_o="1800" data-src="https://freight.cargo.site/t/original/i/dabffd2c4129cce9925b24cd4f336f7edfe8a8496b434ba6f60cae17c85f96f0/5.png" data-mid="183184149" border="0" src="https://freight.cargo.site/w/1000/i/dabffd2c4129cce9925b24cd4f336f7edfe8a8496b434ba6f60cae17c85f96f0/5.png" /> <img width="2880" height="1800" width_o="2880" height_o="1800" data-src="https://freight.cargo.site/t/original/i/cc72fe010ce06359fe47bb1457d412a57ffd5cb0c2a586a7104784a3f5b23b96/1.png" data-mid="183184145" border="0" src="https://freight.cargo.site/w/1000/i/cc72fe010ce06359fe47bb1457d412a57ffd5cb0c2a586a7104784a3f5b23b96/1.png" /> <img width="2880" height="1800" width_o="2880" height_o="1800" data-src="https://freight.cargo.site/t/original/i/73ec9b968adffe3d13b037203d885edd42602c5013b6e9adf9b94a882f34ecde/8.png" data-mid="183184152" border="0" src="https://freight.cargo.site/w/1000/i/73ec9b968adffe3d13b037203d885edd42602c5013b6e9adf9b94a882f34ecde/8.png" /> September 2019: a group of Trans*, Intersex and Non-binary people gather in a forest somewhere in france, for the first time. Some live in cities, some in non-urban environments, all search for peaceful places.They meet each other. They relax, little by little. They get comfortable. They have fun. During short excursions, they share bits of their lives. Conception, direction, editing: Gala faraus With: Adamante, Aroun, Croute, Faux Fruit, Hyacinthe Hennion, Léa Rivière, Pive, Plum, PussyFire, Sal, Sally Peach Pony and TheMany. Artistic support: Marta Popivoda Technical support: Ward Ten VoordeMusic credits: "Pecking Order by Rrose, "I Look Good" by Club 69 feat. Kim Cooper, 'Un Año de Amor" by Luz Casal, "Enfants de Zeus" by PussyFire, "I Find It Hard to Say" by Lauryn Hill. ~message me to watch full film~ <img width="4096" height="2304" width_o="4096" height_o="2304" data-src="https://freight.cargo.site/t/original/i/fca999f1c38f3c33e6cc3f0fb30e34f9a8335a56cb499798131f1076d4f69898/4.png" data-mid="183184148" border="0" src="https://freight.cargo.site/w/1000/i/fca999f1c38f3c33e6cc3f0fb30e34f9a8335a56cb499798131f1076d4f69898/4.png" /> https://pacafarucci.com/Some-About-Love Sun, 25 Jun 2023 10:25:22 +0000 galafaraus.com https://pacafarucci.com/Some-About-Love Some About Love <img width="2880" height="1800" width_o="2880" height_o="1800" data-src="https://freight.cargo.site/t/original/i/b2bf60df6be9a1abee3deb44137e878b30aa3c24c5e4ac29d61b2121c9ac2508/Screenshot-2020-12-30-at-11.48.53.png" data-mid="183184627" border="0" src="https://freight.cargo.site/w/1000/i/b2bf60df6be9a1abee3deb44137e878b30aa3c24c5e4ac29d61b2121c9ac2508/Screenshot-2020-12-30-at-11.48.53.png" /> <img width="4028" height="2967" width_o="4028" height_o="2967" data-src="https://freight.cargo.site/t/original/i/4a27ea07d9c7dca3a9c61779c655911ef156e13d7678f6954dc600b35556702b/IMG_7608-3.jpg" data-mid="183184626" border="0" src="https://freight.cargo.site/w/1000/i/4a27ea07d9c7dca3a9c61779c655911ef156e13d7678f6954dc600b35556702b/IMG_7608-3.jpg" /> “So in the midst of despair, I have come to believe that love—the feeling of love, the politics of love, the ethics and ideology and embodiment of love—is the only good option in this time of the apocalypse. What else do we have?” —Kai Cheng Thom, I hope we choose love "Some About Love" is a dance solo, a research presentation, a collective&nbsp;writing and a&nbsp;zine&nbsp;about the theme of love. Intrigued by the fluctuation of our capacity for loving and receiving love, i dived into&nbsp;a&nbsp;number&nbsp;of readings&nbsp;about&nbsp;the conditions of loving under late capitalism and patriarchy,&nbsp;beyond the privatized romantic love,&nbsp;and in relation to power structures and community. Starting with a grounding solo dance&nbsp;on a&nbsp;self-produced soundscape,&nbsp;i come out of the see-through cage and sit among the audience members to introduce my research.&nbsp;i&nbsp;share reading excerpts&nbsp;as well as&nbsp;my personal findings about&nbsp;when i see capacity for love expand, in its multiple forms: communal, interpersonal, spiritual&nbsp;and to oneself.&nbsp;i then&nbsp;invite the audience members&nbsp;to start an individual writing session oriented by different prompts every night. Collecting the hand-written&nbsp;texts,&nbsp;i&nbsp;create a paper zine&nbsp;after the show&nbsp;which is shipped per post to&nbsp;everyone expressing&nbsp;the wish for it. In the following weeks i&nbsp;offer late-night readings through the phone of book excerpts&nbsp;about&nbsp;alternative loving and&nbsp;communal love. The essential motivation for this work is to learn how to nurture and accomplish this ambition of a greater and more stable capacity for love:&nbsp;through&nbsp;service, spirituality, communal&nbsp;living or&nbsp;friendship.&nbsp;Ultimately studying feelings of&nbsp;belonging, trust&nbsp;and&nbsp;faith. Choreography, scenography, dance and facilitation: Gala&nbsp;faraus Soundscape, costume design, zine creation: Gala faraus Seamstress: Laura Dubourjal Advisors: Raoni Muzho-Saleh (NL) and Zinzi Buchanan (UK) Music credits: interludes from “Miseducation” by Lauryn Hill (“Lost Ones”, “When it Hurts so Bad”, “Forgive Them Father”, “Every Ghetto, Every City”), “Looking Forward To Something, Dude” by Joseph Shabason, “Three” by Ellen Arkbo, “Epic Fail Sound Effects” and “Game Over Sound Effects” by YouTubeCaptured by Nazar Rakhmanov and&nbsp;Nellie de Boers 📖 Some About Love zine https://pacafarucci.com/Motor-For-Hope Tue, 27 Jun 2023 10:00:34 +0000 galafaraus.com https://pacafarucci.com/Motor-For-Hope Motor For Hope <img width="2281" height="1767" width_o="2281" height_o="1767" data-src="https://freight.cargo.site/t/original/i/14a61118fca685eebe6e9e75ad6f0a37f269b7a3ea6004c9a42713f0a43ecd9a/MFH-Garden.png" data-mid="183485842" border="0" src="https://freight.cargo.site/w/1000/i/14a61118fca685eebe6e9e75ad6f0a37f269b7a3ea6004c9a42713f0a43ecd9a/MFH-Garden.png" /> <img width="1600" height="1200" width_o="1600" height_o="1200" data-src="https://freight.cargo.site/t/original/i/d6519e4894a71c3e0dd0c3558976a926dc9bb6880b1ae8567e94f7124c51d18d/WhatsApp-Image-2020-06-19-at-21.14.28.jpeg" data-mid="183485653" border="0" src="https://freight.cargo.site/w/1000/i/d6519e4894a71c3e0dd0c3558976a926dc9bb6880b1ae8567e94f7124c51d18d/WhatsApp-Image-2020-06-19-at-21.14.28.jpeg" /> “Motor For Hope” is a digital map gathers a collection of interviews, readings, personal writings and audio recordings from and for neurodivergent, gender nonconforming peers. It is a garden, a soft environment away from the straight gaze, a composite field made of testimonies of various forms. It is also an online performance during which i present the context and the content of this "garden", offering a tour to an ideal audience composed of friends, family and peers disseminated around the world. "Motor For Hope" started off as a self-lab, a very personal project during the first lockdown of the covid pandemic, which i spent mostly on my own in a container housing in amsterdam. A surreal and ideal opportunity for a long-fantasized performance: liberating my brain from psychotropes and sorting out my chaotic relationship to oestrogens intake, whose necessity i was still doubting at the time; understanding my body's needs and finding&nbsp;autonomously&nbsp;a well-adjusted set of habits and supplements;&nbsp;reaching out to friends, facilitating conversations to voice and share our stories, pleasure practices,&nbsp;resources and&nbsp;hesitations;&nbsp;and collecting the abundant elements of this research in an online space accessible anytime&nbsp;for&nbsp;future&nbsp;strolls. It thus became a tool to facilitate and generate interactions&nbsp;between a collective&nbsp;formed&nbsp;across geographies and locations, co-creating a fertile soil of resources. "Motor For Hope" is a dance between the self and the collective, between voicing and listening, a personal and social choreography: it accounts for my own physical and neurological journey and&nbsp;develops&nbsp;into a reportage on my peers' relationships to their bodies, sexualities/sensualities, mental health and communities.&nbsp;It is in that way a continuation of my film "Rural Trans*"&nbsp;and aims&nbsp;for self-&nbsp;and&nbsp;mutual affirmation&nbsp;through interconnectedness, convers ations and poetics. « I envision a world full of spiders, weaving interconnected webs that resist patriarchal forms of supremacy that works so well at keeping us distraught, distracted, and divided. » —Monique Tula, Executive Director of Harm Reduction Coalition, in her contribution to the book "Pleasure Activism, the Politics of Feeling Good" written and gathered byAdrienne Maree Brown. interviews available on youtube and soundcloud. Advisors : Raoni Muzho Saleh and Paul Maheke. &nbsp; &nbsp;📖 Excerpts from “Journal Quarat(a)ine”&nbsp;<img width="640" height="890" width_o="640" height_o="890" data-src="https://freight.cargo.site/t/original/i/f7374ed4aa7f34a953768605f912151a703c068ad4fcc47aa008adf322f16ab8/IMG_3857-copy.JPG" data-mid="183485648" border="0" data-scale="5" data-no-zoom data-draggable data-icon-mode src="https://freight.cargo.site/w/640/i/f7374ed4aa7f34a953768605f912151a703c068ad4fcc47aa008adf322f16ab8/IMG_3857-copy.JPG" /> https://pacafarucci.com/Survival-Carousel Mon, 26 Jun 2023 15:18:56 +0000 galafaraus.com https://pacafarucci.com/Survival-Carousel Survival Carousel <img width="1503" height="1000" width_o="1503" height_o="1000" data-src="https://freight.cargo.site/t/original/i/7fc37ca4a597a5d45a7678e4528bbfe048b1f4c8e3e8527ccc75f5dd79fd10c0/7.JPG" data-mid="183309396" border="0" src="https://freight.cargo.site/w/1000/i/7fc37ca4a597a5d45a7678e4528bbfe048b1f4c8e3e8527ccc75f5dd79fd10c0/7.JPG" /> <img width="1503" height="1000" width_o="1503" height_o="1000" data-src="https://freight.cargo.site/t/original/i/650030164df33af72002cba2e3d415157cff1d2c43f48f1317c3eaa0d1f4e808/6.JPG" data-mid="183309395" border="0" src="https://freight.cargo.site/w/1000/i/650030164df33af72002cba2e3d415157cff1d2c43f48f1317c3eaa0d1f4e808/6.JPG" /> <img width="2880" height="1800" width_o="2880" height_o="1800" data-src="https://freight.cargo.site/t/original/i/e88e34c1f39d769cf783d254666e43d5d2ff5d7f6d9254bed72cd97afa13d8d4/0-cover.png" data-mid="183309389" border="0" src="https://freight.cargo.site/w/1000/i/e88e34c1f39d769cf783d254666e43d5d2ff5d7f6d9254bed72cd97afa13d8d4/0-cover.png" /> <img width="2880" height="1800" width_o="2880" height_o="1800" data-src="https://freight.cargo.site/t/original/i/3e23c320f2c9ed5997491b459f2fba94eb18fb8bc0cc12dc679f285bbea9f184/1.png" data-mid="183309390" border="0" src="https://freight.cargo.site/w/1000/i/3e23c320f2c9ed5997491b459f2fba94eb18fb8bc0cc12dc679f285bbea9f184/1.png" /> <img width="2880" height="1800" width_o="2880" height_o="1800" data-src="https://freight.cargo.site/t/original/i/bbfdf51f45d95f9fddd72492ecea2fd76d51d1fc26a76e1989ac430dc1a5b5f2/3.png" data-mid="183309392" border="0" src="https://freight.cargo.site/w/1000/i/bbfdf51f45d95f9fddd72492ecea2fd76d51d1fc26a76e1989ac430dc1a5b5f2/3.png" /> <img width="2880" height="1800" width_o="2880" height_o="1800" data-src="https://freight.cargo.site/t/original/i/269eaf386811084f64b5c8df86645ee18e18f7774615d5aba892622b0294af0a/4.png" data-mid="183309393" border="0" src="https://freight.cargo.site/w/1000/i/269eaf386811084f64b5c8df86645ee18e18f7774615d5aba892622b0294af0a/4.png" /> <img width="2880" height="1800" width_o="2880" height_o="1800" data-src="https://freight.cargo.site/t/original/i/13dda7942752ad2ac61585b490a550e321febb8785310af96332ff86f11d4d52/5.png" data-mid="183309394" border="0" src="https://freight.cargo.site/w/1000/i/13dda7942752ad2ac61585b490a550e321febb8785310af96332ff86f11d4d52/5.png" /> <img width="1503" height="1000" width_o="1503" height_o="1000" data-src="https://freight.cargo.site/t/original/i/a985b6b55d5b1b44385d4253b08fdaf26f7541faa1caaaa1e63cbb5a2c190f13/2.JPG" data-mid="183309391" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/a985b6b55d5b1b44385d4253b08fdaf26f7541faa1caaaa1e63cbb5a2c190f13/2.JPG" /> This work is a triptych solo staging various coping strategies in the form of a condensed variety show. The circus, the magic show, the club and the community joint merge to become an ever-shifting space, in which Paca makes her own clown emerge: an acid clown, grotesque, dark, sensual and restless, with a dash of cute. In the tradition of the cabaret, the audience is addressed in a very direct manner, sitting close and witnessing a somewhat hectic human lip-syncing, dressing up, undressing, reading or suddenly dancing, until she&nbsp;takes&nbsp;refuge/relief&nbsp;in the dark to sing and dance&nbsp;on&nbsp;her&nbsp;favourite beats.&nbsp;The&nbsp;panoply of states&nbsp;which she navigates&nbsp;throughout the shows—from vulnerable to overconfident, from tender to brash—&nbsp;mirror the&nbsp;abundant clashes between her wishes and her limits, which she all explores on stage, between madness, irony and gentleness. By and with Gala faraus Laser Lady: Parisa Madani Advisor: Joy Mariama Smith Music credits: "Private Life" by Grace Jones, "Conjuring" by IAMMDDB, "Sex With Me" byRihanna, "Miracle Healing Frequency" by&nbsp;youtube,&nbsp;"Ex-Factor"&nbsp;by&nbsp;Lauryn Hill,&nbsp;"Fever"&nbsp;byMissRed,&nbsp;"Epic Sounds Effects"&nbsp;by&nbsp;youtube,&nbsp;"Abusey Junction"&nbsp;by&nbsp;Kokoroko,&nbsp;"James Joint"&nbsp;by&nbsp;Rihanna,&nbsp;"Je Sais Pas"&nbsp;by&nbsp;Céline Dion,&nbsp;"Self&nbsp;Control"&nbsp;by&nbsp;Laura Branigan,&nbsp;"Dog Heart Beats"&nbsp;by&nbsp;Caroline Bringet,&nbsp;"Drama"&nbsp;by&nbsp;Club&nbsp;69 feat. Kim Cooper,&nbsp;"With you"&nbsp;by tim faraus,&nbsp;"Living My Life"&nbsp;by&nbsp;Grace Jones. "i also wanted to do this: give the audience paper Masks remove imaginary fabric from a pedestal read excerpts from "the inner Child book" on&nbsp;Goofy sexy&nbsp;Dance read notebooks&nbsp;on&nbsp;club 69's "Drama"&nbsp;an Awkward&nbsp;duck walk with castanets (i really wanted to use castanets) go lie down behind the box&nbsp;anytime i needed to "recalibrate”&nbsp;Karaoke&nbsp;"self–control" and "james&nbsp;joint"&nbsp;Seaweedleave the&nbsp;Nose&nbsp;aside&nbsp;and allow the crying if it comes up make a giant&nbsp;Cartoon book (about half my size) titled&nbsp;"for&nbsp;earthly&nbsp;survival" with&nbsp;the&nbsp;back cover&nbsp;saying&nbsp;"healing for dummies" in italics just recovering from the madness and&nbsp;Dance&nbsp;on&nbsp;sweet music #authentic Goofy sexy dance on the box but in the dark&nbsp;Real talk about&nbsp;"mental health"&nbsp;sing&nbsp;self-control in the&nbsp;mike&nbsp;but&nbsp;on&nbsp;another track use the mike way more use flashlight to navigate and light the&nbsp;Landscape&nbsp;+&nbsp;my&nbsp;Body sweep away the mess on the floor so that i can (finally)&nbsp;Dance silly play harmonica&nbsp;on&nbsp;club 69's "Drama"&nbsp;push&nbsp;the&nbsp;Comedy&nbsp;push the&nbsp;Real talk make the third night a total&nbsp;Improv&nbsp;talk about&nbsp;a&nbsp;good friend who criticised a girl for constantly showing off her body after&nbsp;Transitioning, and consequently gave me extra self–consciousness and inhibitions make a giant&nbsp;Dice&nbsp;with different actions that the audience can&nbsp;Play and i just have to execute use a neutral&nbsp;Mask sing a pop song playing piano invite&nbsp;Rūta&nbsp;as&nbsp;peggy&nbsp;guggenheim through the&nbsp;decor&nbsp;door for a short&nbsp;Interview&nbsp;have&nbsp;a little crew of "Laughers" in the&nbsp;audience who&nbsp;Laugh&nbsp;any time i try to be funny~ but i kept it simple"