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tonight is the result of an errorist
video-event project.
The artist searches for isolation within the city. He is decided to perform a one-time ascetic ritual of self-cleansing. This has become an obsession. 
He makes sure that all the ideal technical conditions are in place—amplified sound and stable light—to capture the unseen and unheard materiality of truth. A fixed video camera placed at eye level assures that the personal relationship the performer establishes with his own image will be later established with the spectator. The camera is hidden beneath a smoked glass which acts as a mirror. The ritualistic object—a traditional shaving razorblade—moves against human skin as the noises the city insists on pushing in. The other cutting tools enhance the physical quality of the sound.
But the symbolic rite of passage that should have been made without hesitation, from beginning to end, clashes with the experimental nature of the action. Untrained, the hand takes longer, and the blade draws some blood. The symbolic spiritual claims the materiality of human existence. What was meant to be a short, unhesitant, uncut and unedited movement has become a graphic statement acquiring a new meaning in error: there can be no real change without some sort of cut, of pain, without some sort of epidermic incision. The filmic object was also cut as a consequence of the action, showing that there is a creative and transcendent potential in error.
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