La Mariée et Bonne nuit Cendrillon

"Do you know any woman or women who have confided in you, long after they've been victims, about their assaults?" "What do you know?" "What did they tell you?" "What did they manage to say?" "And what do they remember?" "Do you know Pippa Bacca, the Italian artist who was raped and killed during her touring performance?" The Bride and Goodnight Cinderella (A Noiva https://www.solitairesintempestifs.com/ouvrages/2024-06/la-mariee-et-bonne-nuit-cendrillone o Boa Noite Cinderela) asks these questions.

For the first part of the trilogy Cadela Força ("Trilogy of Bitches"), Brazilian artist Carolina Bianchi and her collective Cara de Cavalo wanted to begin with a conference where readers are buried under the enumeration of violence. The performer lends her first name to the character of the lecturer who, with the rigor of thought implicit in such a talk, plunges us into the antechamber of hell: a hell that pursues us even under the effect of the "rapist's drug" (which Carolina takes at the end of her talk) and in sleep; a space where the present collapses with the past, without warning. How can we overcome the fragmentation of time between memory and dream, imagination and reality?