"Self-Tape for a Self-Love" transforms the familiar ritual of the actor’s self-tape into a live examination of visibility, rejection and the desire to be chosen. Performed by Dino Desica, the work moves between audition, confession and rehearsal as he attempts to manufacture the version of himself that might finally be wanted: by the camera, the industry, an audience, or another person.
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Loved by You takes Marilyn Monroe, Dino Desica’s first queer icon, as the starting point for a performance about desire, vulnerability and the contemporary search for love. Moving between autobiographical storytelling and a cappella fragments of Monroe’s songs, Dino brings the romantic fantasy of old Hollywood into collision with Grindr, darkrooms, dating apps and social media, asking what it means to look for intimacy in a culture built around visibility, choice and validation.
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Four Rehearsals On One Stage uses rehearsal as a space where autobiography can be performed, interrupted and rewritten. Across four acts, Dino Desica moves between scripted material, memory and improvisation, drawing on migration, masculinity, paranoia, vulnerability and personal failure. Rather than arriving at a finished performance, each rehearsal produces another possible version of Dino and of the experiences he is attempting to narrate.
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Will We Believe? brings Dino Desica into a collaborative magic show in which his existing fictional identity becomes material for the performance rather than a character written for him. Working with director Rosa Doornenbal, elements of Dino’s persona- his longing for love, obsession with appearance, loneliness and desire to be on stage- are reconfigured through magic and puppetry. A puppet double of Dino creates an encounter between performer and constructed self, asking which version we are being invited to believe.
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Rehearsal of a Performance that Will Never Happen brings Norman Mine and his fictional performer Dino Desica into the same conceptual space, turning the unstable relationship between artist and character into the work itself. Presented across three dates, each performance responds to the failures, discoveries and accidents of the previous one while rehearsing for a final performance that, as the title promises, never arrives.
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In This Time I Reflect placed four QR-coded performance posters across the streets of Brixton, turning a technology normalised during the pandemic into a portal for unexpected encounters with performance. Styled as IKEA instruction manuals, the posters invited passers-by to stop, scan and privately encounter Dino Desica on their phones, inserting moments of intimacy, absurdity and reflection into the speed of everyday public life.
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Studio 209, Hackney, London, Live performance A live performance exploring the unstable space between performance, rehearsal and self-presentation, and the desire to be seen. I Perform the Performance is a playful yet critical exploration of the messy space between live performance, staging and rehearsal.
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