‘Marcel’ was born as a performance inspired by Duchamp and “The Wizard of Oz”, (born in the recession of the late ‘800 England), crossing the concept of contemporary crisis.

‘Marcel’ has been inspired by the revolutionary concept of readymade - an object which, without its context, loses its meaning and becomes a work of art.

Art is about perspective.

In the first volume of ‘Marcel’ we used as readymade the public document of the Court of Milan which formally required Silvio Berlusconi to appear before a judge for the famous “Ruby’s case”.

In ‘Marcel vol I - Italian politics as a work of art’ the focus was on the grotesque of politics.

‘Marcel vol II’, as the title suggests, is a performance about perspective.

If politics is grotesque, the way that we can approach it, through media, is sometimes even more grotesque.

Marcel vol II has its starting point in the way European media talk about immigration and, especially, about immigrates.

As a dada show, Marcel is composed as a collage, it is an installation whose script is going to be built from statistics and articles about this topic and will be delivered as recorded voices, absurd dialogues and occasionally it will be sung on opera music.

Marcel vol. II opens with a multi-lingual conversation about nothing, which is a prelude to a monkeys army, which turns into a mechanic one.

A fragmented mannequin is animated by the actors, who dismantle it and rebuild it as they like. The actors themselves burst into the scene from Grosz’s paintings, Höch’s collages and Duchamp’s works, which they create and destroy with their bodies, a plastic cloud and a Masonic stroboscopic ladder.