Then I wanted to make a happy end for once
Hm, let’s see: Claire Fontaine’s work, a neon installation based on the different orgasm curves of men and women, wherein I presume one to be the man, second the woman, and third the woman, if nothing happens. This resolves in three resolutions, R, R, and R, which is the most difficult consonant in the Italian alphabet. The rolled r, which, since I could not pronounce it, made it an ordeal to ask for books by Carla Lonzi in the bookshops of Rome. They typed in Calalonzi, and didn’t find anything. So I trained the RRR and while I sat there rolling RRRs wrote down RRRs on paper-sheets, while we found out that the orgasm curves can be found on the pavement in Rome, or at least in Verena Kathrein’s photos she took there, while the bus made rrrr. This leads to Carol RRRama, and the only thing we got out of the Casa delle Donne in Rome. The archive was closed and we could only steal an old newspaper, where, in the illustrations for an article on Carol Rama, Verena and me can be found in two of her paintings. Here only Verena is visible, bringing a flower pot (as she did in real life, which resulted in another work). It is now hidden by another of her photographs from the sea in Naples, oozing out under the orgasm picture. While two people on another of Verena Kathrein’s photographs from Naples—one tattoed dad, the other mama—walk across the zebra crossing.The spread is an excerpt of the ongoing research of Verena Kathrein and Ariane Müller on comedy and feminism, based on Taci, anzi parla! Diario de una Femminista and Pulcinella ovvero Divertimento per li regazzi by Giorgio Agamben, which started in Rome in May 2016.
