A walk along a Möbius strip where the shift from one side to the other occurs without rupture — much like a tragicomedy trapped in the paradox of the chicken and the egg, or a dangerous liaison with a snake biting its own tail — RAW is a play on words and a shift in meaning that boldly traverses the phenomenon of laughter.
Laughter is political. It has long been used to exclude, ridicule, and control. But it can also become a tool for liberation — especially for marginalized and subversive bodies. RAW activates this potential: laughing at the idol, at gender, at smooth and controlled forms. Laughing until it overflows. Laughing until it slips. Laughing until it breaks.
Using both smooth and rough materials — slime and metal — RAW explores laughter as a cathartic and ambivalent substance, a double-edged weapon: capable of liberating, but also of dominating. Here, laughter erupts as a bodily spasm, an involuntary act, a crack in the system of control and a slip into a wild rethinking of the contemporary body thought through skin, fluids, glitches, and spasms.
Between soft matter and heavy metal, RAW shapes a paradoxical laughter: at times liquid, at times razor-sharp.
