Sweats Chills No Fever

SALEM'S HOLE

The group of Salem's Hole was born in January 2010 on the occasion of the Roman Empire "Female Extreme body art" during which begins with the performances of Elizabeth, Litanies des femmes ".

The original idea was born from the performer Sad Princess Soraya, previously active in the field of performance with the Bloody Cirkus, and Tiger Orchids, fakir known internationally for collaboration with Freaks Bloody Tricks, The sewing machine, Bloody Circus, Kyrahm and Julius Kaiser, Andrea Ropes. They were later joined Antares misandry, a novice in the field of live performances, models for subjects of body art for many photographers and video as well as a nurse and then an expert in the field of health.

Concept Salem want to express that passes through the channels of the extreme body art, using techniques that are just as suspencion body - the suspension of the body following the insertion of steel hooks into the dermis - or by the fakir which is taken to be erected over the glass and sharp edges, slide the burning flames along the skin but also the sewing veils and ribbons onto the body with needles or sharp and Kusher still close body orifices such as eyes and mouth with sutures.

The Salem's Hole are not willing to eliminate gender differences, no attempt to represent the views or suffering to women, but since anyone who carries out the project Salem is part of that universe, it is natural to 'Performances of the internal tools are used and locations closer to the world of women. The body becomes a kind of aleph capable of carrying out one's inner world, reality sometimes full of anguish and pain, his body stained with the blood of the daily violence that turns into blood through the fertile Performance. The aim is to exploit the kinesthetic memory to give observer looking at the memory of what is represented beyond the mind, to the depth of the flesh that pulsates and burns. We would like to point out that in these performances there is no outlet nor liberation from their fears, as many believe. There is no outlet masochistic or any attempt to shape a narcissistic performance of self. First we must make a distinction from what we expose in public and what is the private sphere, of course, the public comes a certain part of us, and is excluded from the most intimate sphere does not mean that you do not communicate through the shows, absolutely, so it's important to bring the viewer directly within what you are doing and feeling during the performance. We expose ourselves, as a whole, not only in the body. The body is the medium through which to act, the body as a channel of expression (other artists work with images, words, with musical notes, etc.) following a path of growth / awareness / liberation in which the suffering is only one component of expressive totality, the suffering, pain, masochism, are culturally induced feelings that are received and experienced with negative sense, especially in Western cultures and Catholic. Pain is something that has been inculcated in cultural and religious - just think of the difference in approach life between a Protestant and a Catholic, a Buddhist or a Hindu - the limits that are imposed are not insurmountable, and the suffering is only one component of the total espressiva.La suffering, pain, masochism, are culturally induced feelings (and I do not think they are the only ones) that are received and experienced with negative sense, especially in Western cultures and Catholic while here you have chosen to live their own bodies and free themselves from dogma imposed. The choice of this medium is based simply on the choice of channel is closer to us and by virtue of the strength and realisicità that only the extreme body art can give. The blood flowing and tear of the body are so real as the pain is real hope that it arrived in the observers.

PERFORMANCE "if I offend / SE defend"

The main theme of this performance is suicide, the stigma and moral judgments in this matter is the subject daily.

The title is an obvious reference all'Amleto - Act V, Scene I - citing the clause "if you defend" that allowed the dead to suicide, to defend themselves from any aggression or threat, could be buried in Christian cemeteries, the two clowns / gravediggers preparing the grave of Ophelia, however, commit the error semantic and transform the self in self defendere offending, the blunder is obviously intended to amuse the public a device that Shakespeare often used to lighten the scenic drama of certain situations, and irony of contemporary society.

The background is that of an old music box, music in which the dancing girls whirling in a circle, linked by three heavy chains anchored to their skin, as the three dancers in a music box in fact. One by one the three dancers are detached from the chain of life and approach to dancing staged their end by means of extreme body art and fakirs and emptying their hearts, actually sewn to the chest, the weight that each is forced to maintain . Who can be

judge of the suffering that brings man to decide for their own end? The aim is to suggest to the viewer to reflect on what people consider every day as cowardice.