Residencies

Concept, choreography, costumes Cristina Kristal Rizzo
Dance Annamaria Ajmone, Marta Bellu, Jari Boldrini, Sara Sguotti
Live sound processing Cristina Kristal Rizzo
Light design Gianni Staropoli
Movie reference “Memoria” by Apichatpong Weerasethakul (2021)
Theoretical collaboration Laura Pante
Co-production Tir Danza, Fuori Margine Centro di Produzione di danza e Arti Performative della Sardegna
Winning project of the call “Abitante” supported by Centro Nazionale di Produzione della Danza Virgilio Sieni and by Fondazione CR Firenze
Creative residencies SpazioK, PARC 

Monumentum stands for: memory, document, sign of recognition, something from the past. Something that pauses and stops the continuous progression of the production flow, moving into the depths of memory, in a kind of temporal anachronism, multiplying the glances along the thread of choreography. Monumentum the second sleep / second part, the quartet has a temporal progression enclosed in the pure dance of an ensemble, an expression of a plural progression of relationships. If the zones of ecstasy of reality are also zones of sense production, the latter manifests itself in Monumentum without erupting but in a kind of abandonment, a kind of perpetual sleep or second sleep, an altered state of consciousness in which bodies allow themselves to be penetrated and transformed. Wrapped in chiaroscuro chromatic visions and traversed by dreamlike dialogues, the piece is in tune with the heartbeat of the gaze and makes us feel that there are other levels of communication or language, the possibility of living beyond the fence of the useful.

Concept, texts: Vincent Giampino
Performance: Greta Francolini, Vincent Giampino
Production: TIR Danza
Co-production: Lavanderia a Vapore
selected for NID PLATFORM 2023 – Open Studios

Umlaut is a sound between two, the assimilation of two sounds that create a third with a double vocal and sound identity.
One of the questions from which the author starts to outline a choreographic project is: where are the bodies? What is the space that regulates vision? How much is it possible to play with the boundaries and aesthetic politics of representation of this space? In short, what is the plane of representation first?

For Umlaut, at the moment, the answer is the space of the set: television / film set / backstage theatre. Why? Because the theatrical space, in its dialogue between performance and audience, in its constitution as a live event, always points the shadow of the finger at the real, the true, whereas Umlaut wants to further shift the place of representation by emphasising its ambiguity and dealing with the choreographic possibilities of the ‘obscene’ in the sense of ob skené, the off-stage, applying the consequences of a post-truth time.
Within this choreographic environment, among the generative sources present, in addition to the aesthetics and practices of the author’s previous works (in particular ff_fortissimo), Umlaut makes use of the study of two figures and contexts: one belonging to the repertoire of the ballet Giselle (the second act) and the other Joanne d’Arc (with particular reference to Dreyer’s silent film “The Passion of Joan of Arc”).

Through performative practices of impossible interviews and trials of these figures, dialogues and monologues will be created. Dreyer’s film will become study material for a re-enactment of a choreography of the face of actress Reneé Falconetti, as a possible basis and support for further performative materials. The use and study of the performers’ vocality will take place by experimenting with the creative and compositional possibilities of whispering, which can be understood, both mechanically and by analogy, as the obscene form of the voice.

How desire can destroy your ego
Giselle and Joanne are two desiring figures whose specificities take shape through different corporeities of action, but both directed towards an elsewhere of which they become matter.
Giselle in the second act, the white piece, after being killed by the consequences of her desire, placed in an abusive masculinity, transforms, alchemises her desire, her passion, into an extreme gesture of care and protection, a sacrifice that saves her executioner and acts in a mode of selflessness.
The figure of Joanne, a historical figure and therefore inevitably immersed in a different eschatological context, becomes the body of a mission, an action, not the fruit of her own will but of which she becomes the bearer, vassal, performer. She embodies a desire not her own, coming from elsewhere. In the abnegation to this ‘mission’ of territorial liberation and reappropriation of the identity boundaries of an entire people, one finds a form of desire that acts by literally destroying the body of its bearer. In Joanne’s refusal to wear women’s clothes in the performance of this act, we choose to see more than a rejection of the feminine, an attempt to re-enchant masculinity.

Anna Basti

Starting from the question How are we?, the desire is to open up and articulate the question in order to bring out from the communities, groups and individual bodies related with the research what are the conditions that determine the state of a body, its health, its emotions, its social, cultural and political posture, as well as micro-biological and hormonal.
An investigation into the macro-cosmos and micro-cosmos that a body holds and into the creation of a hypothetical ‘method’ that, without the desire to fix itself as a scientific practice, can germinate generative practices of data accumulation and the release of archives and systems of poetic, artistic and sensorial visualisations. The project to date is articulated in a series of collective practices open to all, sonorised in collaboration with dj and producer Hugo Sanchez (Pescheria, Rome/Tropicantesimo/Front de cadeau/Alien Alien) and in a path dedicated to the single body, still in the process of being elaborated. The project was hosted in residence at the Nuovo DID studio_Milan for Le alleanze dei corpi, at the Lavanderia a Vapore in Turin for Research Camping 2023, in the RicercaX path as satellite research.

concept, texts and creation Michela Depetris
performance and dance B. Bordoni, Chiara Cecconello, Michela Depetris, Zoe Francia Lamattina, Ida Malfatti, Claudia Veronesi
live sound Chiara Cecconello
sound design Pony Esposito
dramaturgies Ida Malfatti
support to practices Zoe Francia Lamattina
graphics Paola Mirashi
supported in the framework of the choreographic residencies project Lavanderia a Vapore/Fondazione Piemonte dal Vivo (Torino)
supported by Workspace Ricerca X- research and dramaturgy, Più Erbacce (CIMD danza/BASE Milano), SPAM! Rete per le arti contemporanee, Galleria Societè Interludio (Torino) 

WOW WIDE WEB is a hybrid research between performance, neuroscience experiment, dance, sound installation, hypnosis and something else undefined. It is an attempt to honour the transitive sensual, the grand soup of the existing in which we live, the shifting tangles of matter, the fluids that make it up, the relationships. The aim is to transform something. WOW WIDE WEB manifests itself as an atmospheric experience charged with bodies, transiting from one form to another by invoking phantom limbs and soliciting the invisible. The word overwrites the space, fuelling the inner vision with irony and sensuality. The spirit of the research is magmatic and sprawling, like the movement of the bodies that embody it, like veins, like roads and rivers in the fluorescent geography of a planet X.

The call τέχνη – téchne opens a collective technical residency with the tutorship of the light designer Gianni Staropoli: an intensive path dedicated to the light dramaturgy as a necessary aspect of the creative process. The residency is a shared and collaborative training course in which the participants, starting from their own artistic project, have the opportunity to explore visions and practical notions relating to the components of light, sound and space.

Valerie Tameu | Dove hanno tremato le placche
Concept and performance Valerie Tameu
Curated by Johanne Affricot with Spazio Griot
Co-production Polo del 900 and Spazio Griot
Music Afrorack, Authentically Plastic, Sun Ra
Dramaturgical Consultancy Ilenia Caleo
In conversation with Cherish Menzo for the workshop part

“Dove hanno tremato le placche” presents itself as a blurred premonition that arises from the relationship between the body and the archive. The fragments of a imperfect archive float on the surface of memory; images which indulge the body and its contemplating gaze. The relationship between me and what remains is revealed in the dance; it is a veiled ritual that confronts me with the intimacy of exchange and the need to see myself elsewhere, within a different time and space. What is acted out is the testimony of an encounter, a succession of attempts to understand, process, and reshuffle the traces of the past. “Dove hanno tremato le placche” is also a childhood game in which we tune into cyclical time, where memory and prediction mingle as imagination; an ironic limbo inhabited by outlandish presences, veteran objects of history, actions, and words in search of wonder.
Valerie Tameu is an author and performer. She holds a Master’s Degree in Cinema, Theatre, Music and Media from University of Turin, Italy with a thesis on the history of dance. She attended classes at Scenario Pubblico and owes her education to various artists of the Italian and international scene.Since 2023 she has been working on the performance project “Dove hanno tremato le Placche” co-produced by spazio Griot and Polo del 900 and on the performance “Metabolo”, curated by Sineglossa, that focuses the relationship between art and artificial intelligence. Her research concerns the connection between performance and identity and the difference between memories and history, while her artistic practice creatively con-fuses bodies, ideas, theories and hallucinations.

Francesca Santamaria | How to survive in the case of permanent damage
with Francesca Santamaria
sounds Ramingo
production CodedUomo
with the support of Carrozzerie n.o.t, ATCL Lazio
project selected by Vetrina della giovane danza d’autore 2023 – Network Anticorpi XL

The Greek word for body appears in Homer only to refer to the corpse. It is this corpse, therefore, or rather, it is the corpse and the mirror that teach us (who have, that is, taught the Greeks and now the children) that we have a body […]. M. Foucault

HOW TO SURVIVE IN THE CASE OF PERMANENT DAMAGE is a choreographic X-ray. A report that reveals a non-utopian body, the functioning of an imperfect machine, the gears of a corruptible organism. It is an exploration of a textual and sonic archive, linked to injuries and debilitations, that investigates the theme of physical and emotional pain post-trauma. In an aseptic “operating” room and over sounds stemming from the reversal of The Dying Swan, a movement sequence and the body of a dancer are vivisected.
What lies hidden within a “performing” body?
Does it make sense to survive?
To what extent?
At what cost?

Francesca Santamaria is a dancer, performer and dance author. After completing her academic studies at Balletto di Roma, she continued training at Biennale College Danza. She started dancing for Milano Contemporary Ballet and Compagnia Zappalà Danza 2 and since 2017 has been bringing pièces and performances by W. McGregor, M. Chouinard, D. Ashbee, R. Zappalà, M. Ostrushnjak, A. Ben-Tal, M. Perego, A. Pirici, A. Businaro, L. Delogu, M. Landi/A. Lanza and others to the stage. She embarked on her authorial journey with the videodance work SHIFTING TOOLS, which won international awards and was presented in twenty-three festivals worldwide. She graduated from Sapienza University of Rome in Performing Arts Disciplines with a thesis on Dance Dramaturgy and she has been involved in projects of the Venice Biennale since 2021: she conducted an archival research at the International Center for Research on Contemporary Arts and she publishes an essay for Biennale College ASAC- Writing about Dance.

“As a performer, I’ve crossed over into various choreographic languages. They focus with precision on the notions of experience and embodiment. Oona Doherty teaches me that emotional frequencies gives form already. Benjamin Kahn teaches me to approach metamorphosis as both an inner physical state and a concrete action. I experience the solo as a quasi-initiatory journey, with the awareness of being in a performative situation. It raises the issue of the audience’s view of what it sees, and the performer’s perspective on their own action. By celebrating the interweaving of practices and exchanges between cultures, Nach introduces me to an eloquent, epic body, a resolutely erotic and sensory relationship to experience.” (Sati Veyrunes – RememberCompany)

in collaboration with Institut français Italie and Ambasciata di Francia in Italia

Resident artists Aurelio Di Virgilio, Polina Fenko, Miranda Secondari
Satellite artists Anna Basti, Barb Bordoni, Teodora Grano, Marta Sponzilli
Guests Julian Barnett, Bojana Kunst, Martina Ruhsam
Artists curators Francesco Dalmasso, Elisa D’Amico, Ambra Pittoni

Making room for critical thinking is the program of Workspace Ricerca X for 2023, which takes shape through two research residencies and some public events, with the support of Lavanderia a Vapore / Fondazione Piemonte dal Vivo.

With making room for critical thinking, Workspace Ricerca X expresses the desire to expand and further articulate the environment it creates with new tools, facilitating the collective exercising of critical thinking as a discursive practice within the frame of artistic research.
A critical and reflexive approach to research practices, materials and their discursive articulations, able to reverberate on different scales, starting from the practices of individual artists, all the way to the discourse of the community gathering around research. This implies questioning how the thoughts generated in this complex environment fall out of the context of Ricerca X.
How can we be comfortable in a difficult posture?
How much responsibility, sensitivity and fantasy are at stake while we generate critical thinking?

ph_Andrea Macchia, graphic_Luca Bogoni

Resident artists Aurelio Di Virgilio, Polina Fenko, Miranda Secondari
Satellite artists Anna Basti, Barb Bordoni, Teodora Grano, Marta Sponzilli
Guests Julian Barnett, Bojana Kunst, Martina Ruhsam
Artists curators Francesco Dalmasso, Elisa D’Amico, Ambra Pittoni

Making room for critical thinking is the program of Workspace Ricerca X for 2023, which takes shape through two research residencies and some public events, with the support of Lavanderia a Vapore / Fondazione Piemonte dal Vivo.

With making room for critical thinking, Workspace Ricerca X expresses the desire to expand and further articulate the environment it creates with new tools, facilitating the collective exercising of critical thinking as a discursive practice within the frame of artistic research.
A critical and reflexive approach to research practices, materials and their discursive articulations, able to reverberate on different scales, starting from the practices of individual artists, all the way to the discourse of the community gathering around research. This implies questioning how the thoughts generated in this complex environment fall out of the context of Ricerca X.
How can we be comfortable in a difficult posture?
How much responsibility, sensitivity and fantasy are at stake while we generate critical thinking?

ph_Andrea Macchia, graphic_Luca Bogoni

ph. Ilaria Costanzo, festival Contemporanea, Prato 2022

project ideation and curation Sineglossa
with Valerie Tameu
within FOOD DATA DIGESTION
in collaboration with Play with Food, Free University of Bozen and Lavanderia a Vapore
supported by Fondazione Compagnia di San Paolo
within the fund call ART-WAVES
creative developer Michele Cremaschi
contribution to costumes Augusta Tibaldeschi
contribution to music Michele Mandrelli
marine biology consultant Agnese Riccardi
dramaturg Federica Patti

“What is less than human and what I would like to consider more than human is not a passive and unconscious object, but applies active and real forms of resistance.” (Valerie Tameu)

Metabolo creates an ecosystem of mutual influence between the human body, artificial machines, and marine ecosystems, in a relationship of multispecies coexistence. With Metabolo, the artist questions the possibility of using technology to promote other forms of intelligence and culture, not only those that are Western or anthropocentric, through the selection of datasets created by certain fish species and the reinterpretation of indigenous practices. This relationship is made explicit in the first place through the connection between artificial intelligence and one of the marine ecosystems on our planet, the one that is located below the Frying Pan Tower, 34 miles off the coast of Cape Fear, NorthCarolina.

There an underwater webcam placed by volunteers for research purposes streams live images on YouTube and is freely accessible. Unlike most other underwater webcams on the same online platform, this webcam does not show animals held in captivity, but in their natural habitat. The artificial intelligence connected to this robotic eye processes the texture and unique movements of Cape Fear’s oceanic world through machine learning and translates them into data that modify the soundtrack on which the artist creates the performance, in Europe, in real time. This human, machine and more-than-human interaction becomes the starting point for the creative elaboration of the performance.

This relationship also includes the spiritual world, represented by the myth of MamiWata, an aquatic deity worshipped in several West and Equatorial African countries, who is half human and half fish, a hybrid and an alien being at the sametime. The artist draws inspiration from this Goddess to create a techno-spiritual ritual, once again learned by artificial intelligence through motion-tracking software on the scene. Like a deity, the manifestation of such a ritual is meant to be symbolically an unexpected appearance, which is translated into a visual created in real time and sent to an online platform that is only available when the performance is happening. The same visual will be projected at the performance site.

di Collectif Hinterland (FR)
nell’ambito di ÉTAPE DANSE, un progetto di cooperazione Francia – Germania – Italia a sostegno di nuove creazioni coreografiche in collaborazione con Mosaico Danza / Festival Interplay

FAIRE FLEURIR riunisce un ballerino, due musicisti, un mucchio di pietre e un ricco ambiente di luci e ombre, sotto un velo che definisce i limiti di uno spazio sorprendentemente teso. Il tessuto che funziona come un soffitto molto basso. Seduto tutt’intorno a questa grotta senza pareti, il pubblico assiste a un’inclinazione forzata verso il suolo. Tutto qui avviene a un livello che impedisce all’essere umano di alzarsi in piedi. In questo rifugio sotterraneo, in questo luogo appartato e segreto, alcune persone si riuniscono e imparano a gattonare.

a project by Lavanderia a Vapore
in collaboration with EDN and Al.Di.Qua. Artists

Our body is not the problem, nor our physical, motor, sensory, neurological, cognitive abilities. We can no longer accept that our bodies, our histories, our changing identities are reported and flattened under a single convenient medical-scientific term. We are not talking about disabilities, but about Disabling Experiences imposed by a society built on a model that only benefits the western, male, white, able, healthy, cisgender and straight human being. (Al.Di.Qua. Artists, Manifesto)

Lavanderia a Vapore is hosting a 4-day exchange of artistic practices, led by disabled artists collective Al.Di.Qua in Collegno (Turin), Italy, from 22 to 25 May 2023. Artists, choreographers and other dance professionals are invited to join a 4-day collective and collaborative exploration of disabling conditions and systemic barriers set by prevailing ableism in contemporary dance. The EDN Carte Blanche Artist Exchange is mediated and facilitated by disabled artists collective Al.Di.Qua and hosted by Lavanderia a Vapore in Collegno (Turin), Italy, from 22 to 25 May 2023. Inspired by Al.Di.Qua’s manifesto, the participants are invited to open a space of possibilities and sow new visions, expand the imaginary relating to disability, grow new skills and raise awareness to generate structural changes and promote greater leadership by people with disabilities and a greater equity for all.

PROGRAMME

May 22nd
3.00 pm – 3.30 pm: check in
3.30 pm  – 6.00 pm: Access agreement. The need as a meeting space curated by Eugenia Coscarella (community dramaturg, researcher in body and writing practice) and Kadri Sirel (artistic researcher in performance documentation)/Lavanderia a Vapore, in conversation with Stefania Di Paolo (researcher, curator, disability advocate, founder TalkwithDance)

What do I need to be comfortable here? Through physical and writing practices, the workshop unfolds the theme of need as a place where to meet ourselves and others. Listening, silence, looking, dialogue in an intimate and collective space will be tools to let our needs emerge and position in the space: we are going to formulate a group access agreement that can accompany us during Carte Blanche.

6.00 pm – 6.30 pm: check out moderated by Diana Anselmo (performer and activist)

May 23rd
10.00 am – 10.30 am: check in
10.30 am – 1.00 pm: Eyes and hands by Daniel Bongioanni (deaf artist and Italian Sign Language teacher) and Nikita Lymar (performer)

Through visual perception, the workshop allows a reflection on the use of the eyes, facial expressions and hands. This will increase our awareness of the many possibilities of expression in many areas: from everyday life, to sign language, art, theatre and much more.

10.30 am – 1.00 pm: Times, spaces, communication: accessibility is a journey with Elia Zeno Covolan (transmasc non-binary, neurodivergent visual designer and illustrator with chronic illness and disability)

This workshop explores the importance of accessibility in cultural venues such as festivals, theatre performances and other events. In particular, it focuses on the relationship between accessibility, times, spaces and communication and how these factors can affect the ability of neurodivergent people with chronic illnesses and/or disabilities to fully participate in cultural experiences.

1:00 pm – 3:00 pm: Lunch break
3:00 pm – 6:00 pm: practice sharing on tasks
6:00 pm – 6:30 pm: check out moderated by Diana Anselmo (performer and activist)

May 24th
10.00 am – 10.30 am: check in 
10.30 am – 1.00 pm: Multiply perception by Marta Olivieri (author and performer)

The workshop shares the encounter between the performance work curated by Marta Olivieri and the audio-description practices created by Camilla Guarino and Giuseppe Comuniello. The collaboration between the three authors generated an interest in the multiplication of perception. Within the workshop, they will bring a practical introduction of the work done during the residence for the creation of Trespass_ Tales of the Unexpected.  

10.30 am – 1.00 pm: Eyes and hands by Daniel Bongioanni (deaf artist and Italian Sign Language teacher) and Nikita Lymar (performer)

Through visual perception, the workshop allows a reflection on the use of the eyes, facial expressions and hands. This will increase our awareness of the many possibilities of expression in many areas: from everyday life, to sign language, art, theatre and much more.  

1:00 pm – 3:00 pm: Lunch break
3:00 pm – 6:00 pm: practice sharing on tasks 
6:00 pm – 6:30 pm: check out moderated by Flavia Dalila D’Amico (performing arts curator, video maker and editor)

May 25th
10.00 am – 10.30 am: check in
10.30 am – 1.00 pm: Multiply perception by Marta Olivieri (author and performer)

The workshop shares the encounter between the performance work curated by Marta Olivieri and the audio-description practices created by Camilla Guarino and Giuseppe Comuniello. The collaboration between the three authors has generated an interest in the multiplication of perception. Within the workshop they will bring a practical introduction of the work done during the residency for the creation of Trespass_ Tales of the Unexpected.

10.30 am – 1.00 pm: Times, spaces, communication: accessibility is a journey with Elia Zeno Covolan (transmasc non-binary, neurodivergent visual designer and illustrator with chronic illness and disability)

This workshop explore the importance of accessibility in cultural venues such as festivals, theatre performances and other events. In particular, it focuses on the relationship between accessibility, times, spaces and communication and how these factors can affect the ability of neurodivergent people with chronic illnesses and/or disabilities to fully participate in cultural experiences.

1.00 pm – 3:00 pm: Lunch break
3:00 pm – 6:00 pm: practice sharing on tasks
6:00 pm – 6:30 pm: check out moderated by Flavia Dalila D’Amico (performing arts curator, video maker and editor)