: : D

The place inside of the mouth, as primitive and original architectural space , as an hidden/exposed body hall, leads this reflection upon the concept of obscenity. The smile of a cynic pose for a “souvenir picture”, of an attractive advertisement brand or a campaign slogan, becomes a mere exposition of teeth, an inside out turn of the dental bones with no muscolar nor emotional will. A “mentadent-berlusconian” smile that makes the body an image on organic support. The obscene, which by definition must remain out of the scene, is exposed from the darkness of the oral cavity to the (ob)scenic-space of the stage, becoming product for the spectators’ retina.
Ob-scene, Ob-seen. An invitation to voluntary blindness.
A violent request of complicity that forces the gaze of the audience up to replace it to the authorial choices by determining the duration of the scenes in relation to how the spectators are looking at it. And at the end it remains just a forensic signposting, traces of a timing without a subject, while the viewers go away from the crime scene keeping - for how long? - frames of bodies impressed upon the retina.