Treaty of economy comes from the encounter of two artists of different generation, environment, formation and artistic path, who discovered by chance to grow the same wish: the one of realizing a performance about the science aiming to free the humanity from the slavery of the need. After more than one year of readings, meetings, doubts, enthusiasms and crisis the project starts taking shape, a structure where economy, art and ethics tangle themselves with paradoxical effects.
The result is a performative project combining word and gesture, questioning about money and its worth, about its invasive omnipresence, and about its substantial lack of relationship with reality.
Staying at the margin of the contract in order to reveal its paradoxes, creating boundary situations and unsuitable questions, is the way to take back control, at least symbolically, of what we don’t understand and cannot control, overwhelming it with a liberating laugh.
If it’s the unpleasantness of a work to determine its worth, than is fair not compensating who loves what he does and overpaying who hates it. And if absurdly it was the competence to determine the fee, or more realistically the social class? Ten euros are just the pocket equivalent of ten quintals of gravel or ten kilos of potatoes? Why can I char my potatoes and not destroying a ten euros bill? Is it really mine, my money? The yellow gum ducks are a good investment? And the penis toys? The self-elimination of the more conscious individuals may be the solution of the environmental and economic problems of the planet? And who are the artists. What kind of job is their? What is the purpose of luxury? How can sausages save humanity?
This kind of almost endless amount of questions generates a kindly iconoclast variety show where is proved once more how the confusion and the discouragement are absolutely the most prolific and comical subjects.