Aurelio Di Virgilio

Category: Artist

Aurelio Di Virgilio

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POEMS is a reflection on the power of dedications written in books. The interest in the vibrant and predictive aspect of this type of message opens the following investigation: How do the body, the space and the object change when we encounter dedications sent to other people? The dedication is for me a point in the story which represents in its brevity the completeness of the act. A microscopic and crystalline sign. The investigation wants to be an ode to the invisible, to all nocturnal, whispered communications.

Aurelio Di Virgilio (1995, Pescara) is performer and dance-maker who lives and works between Rome and Milan. He graduated from the school of Piccolo Teatro of Milan – Luca Ronconi (2017).
His choreographic and performative research is focused on heterogeneous tools such as choreographic scores, somatic practices, plastic elements and drawings to access personal memories and to reflect on the present we are living. Bodies are invited to relate to each other by reconsidering their identity and their gestural codes to get in touch with the other.
Since 2020 he has presented his works in theatres, museums and art foundations, including Cango – Cantieri Goldonetta (Florence), La Fondazione – Fondazione Nicola del Roscio (Rome), Nuovo Teatro delle Commedie (Livorno), Fondazione smART (Rome), Museo della Città (Livorno), Sala Santa Rita (Rome). He is part of the Prender-si cura 2021 residency program, curated by Ilaria Mancia at the Mattatoio (Rome). In 2022 he won the Più Erbacce research grant promoted in collaboration with BASE (Milan).He has collaborated as a performer for Collettivo Treppenwitz and as performer/assistant for Masako Matsushita on occasion of the project MOVING.

Aurelio Di Virgilio is with us in: Edizione 2023,

Fabritia D’Intino

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Fabritia D’Intino (ITA, 1986) graduated from Accademia Nazionale di Danza (Rome) and ArtEZ (Arnhem, NL). She is currently completing the Master’s degree in performing arts MAP_PA in Rome. From 2013 to 2019 she has been the artistic coordinator of Barcelona International Dance Exchange – BIDE, curating activities in Europe and America. Her activity includes stage performances, public space interventions, participatory projects and research formats.

She works mainly in collaboration with other artists and her work has been awarded with national prizes (In generazione/Fabbrica Europa e Tu 35 Expanded/Centro Pecci) and it had been presented in different international contexts including Théâtre De La Ville, Sadler’s Wells, Festival Le Grand Bain, Dance City UK, Festival OFF d’Avignon, Sismograf Olot, Mons arts de la scène, Teatri di Vetro, Festival Ammutinamenti, Vetrina della Giovane Danza d’Autore, Danza Urbana, Young Jazz, Centro Pecci.

As a dancer she collaborates with different choreographers and visual artists. Since 2018 she is part of ci.e Catsandsnails (France) and Chiasma (Rome).

Fabritia D’Intino is with us in: Edizione 2022,

Irina Baldini

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Italian / Finnish dancer and maker, Irina Baldini trained at Florence Dance Center and earned a 1st class Hons.
degree from Laban Centre for movement and dance, UK and an MA in Performance Practices, at ArtEZ university of the Arts, NL. She worked over the years with different choreographers (Yvonne Rainer, Xavier Leroy, Mårten
Spangberg, Simone Forti, Mike Kelley, Pablo Bronstein, Susan Sentler) at venues such as Hayward Gallery, The White Cube, Institute of Contemporary Art, Raven Row Gallery, Tate Britain, and independently at Queens Museum, La Biennale di Venezia, Theater aan het Spui, OGR Torino, Florence Dance Festival, Dansmakers Amsterdam). She is author of the book Low Content, 2018, a collection of reflections around the notion of change through the lens of performance, Kelder, 2020, a photo-book rooted in the idea of in-betweenness and metamorphing, Between a Kick and a Cuddle, 2021, a thesis based on her fluid methodology around psycho-physical states of doubt and confusion and Accountable Temporary Expedients, 2022, a composition of elements informing and informed by Baldini’s methodology for choreographic improvisation.

Irina Baldini is with us in: Edizione 2022,

Elisa Zuppini

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Elisa Zuppini (b. 1990, Ascoli Piceno) is a choreographer and dance maker originally from Italy. She graduated from SNDO- School for New Dance Development in Amsterdam, where she is currently based. Her choreographic research articulates around notions of relational
movement and materiality in relation to the body and its affective dimensions. She is interested in the body as a transformative technology through which we can potentially access new (or lost) perceptions of reality. In the past years, her practice has become ground for artistic exchanges with various visual artists, writers and dancers, also through teaching workshops. In 2016 she was awarded as Young Talent in Choreography from OpenFlr, Florence (IT), in 2018 she won the scholarship for the Danceweb residency program at Impulstanz in Vienna (AT). Since 2019 she became one of the members of Jacuzzi, a convergence of Amsterdam-based choreographers.

Elisa Zuppini is with us in: Edizione 2022,

Francesca Saraullo

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POOL LIKE PISCINA is an artistic practice born in continuity with “Archaeology of gesture”, a research project based on personal and archaic memories emerging from the pelvic core as a political act of reconnection to the matrix of the body and to the being who dances. With POOL LIKE PISCINA, I want to develop this study along three axes: archaic-body; animal-body; channel-body. The common intention is to stay in a time of subtle listening to let the body open perceptively and consciously to the impalpable that flows through me and the other in a continuous dialogue between past-present-future, by transforming the gesture into a sound and dancing vibration. Working on passive vigilance, activating a state of receptive presence, combining some somatic and energetic practices, I would like to translate this introspective and trans- identity process into a possible choreographic composition where the intimate merges into the whole and the individual breathes into the collective.

FRANCESCA SARAULLO (1984) is a multidisciplinary artist, Brussels-based choreographer, dancer-performer, video-maker and independent researcher. Saraullo graduated in Choreographic and Visual Arts at the Royal Academy of Fine Arts in Brussels (ISAC/AeSP) after her studies in Multimedia and Performing Arts in Turin, Italy where she had prior attained her degree in Cinema and Media Engineering. Intensively trained in dance and theatre by international masters in France, Italy, Belgium and Austria (“Fondation Royaumont”, “College-Dance Venezia”, “ImPulsTanz-Vienna International Dance Festival”), she continues to advance her education in somatic and energetic practices (sensitive dance®, fasciapulsology, qi gong). From 2013 she has been producing her own choreographic works (ANAMNESIS, LUX, Et toi…, La Sospesa) and visual compositions (W., RACCOLTO, Moulbaix Dr., Ballerina, MiNunn) presented in various international festivals/museums/theatres. For 2020-2021 she received a grant from Charleroi Danse to support her research onto the “Archaeology of gesture”. Francesca collaborates with a variety of artists.​

Francesca Saraullo is with us in: Edizione 2015-16, Edizione 2021,

Amalia Franco

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‘I imagine a numbered list in which to lose the thread, despite or given the presence of the numbers: the numbered list of exercises preparatory to the disappearance.’

The work acts as an ‘intensive body, locally active for jumps, rejects, vibrations and modulations’. More than a dramaturgical writing, it is a device, which gives the work the shape of a zibaldone of thoughts, or little children thoughts. The figure, the dancing body and the word are the elements suitable for the construction of specialized molecules, the single exercises, in which the technology of the body is active, which breaks up, binds and multiplies the cells. It is an exercise of appropriation and reckless use of codes, necessary for the localization (in the body) of thought.

The Exercises practice in indeterminacy, in the domain of the ‘more or less’, non-measurable. The focus is on the shift from the centrality of the work understood as a concluded fact to the composition as a decentralized place.

She is an independent artist and her research is centered on contamination between dance, puppet theater and masks. She collaborates with Quartetto Maurice e Giulia Lo Russo for ‘Corpo Unico’. She is author and performer in ‘Trittico. Cantillazioni’, in collaboration with Anna Moscatelli and Renata Frana. Always on the mix between dance, puppets and masks creates ‘Trittico. Lasciare andare con grazia’. As a performer he works for the Teatro del Lavoro in the ‘Histoire du soldat’ and with the company ‘La barca dei matti’, directed by Natacha Belova, Ifoperator Production. In 2015 she is selected in “Nuove Traiettorie”, project for the GdA, with an study of Moving Masks. She carries out studies and works on urban theater and dramaturgy of the landscape and creates ‘Tillandsie, drammaturgia urbana dei crolli’, project training in Taranto city, in collaboration with Lajos Talamonti and Leonardo Delogu.

Amalia Franco is with us in: Edizione 2021,

Valerie Tameu

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The A Thousand Ways to Fall project investigates the possibility of relating the body to its reflection, trying to make evident the residue of this liminal area.
The research passes through the study of the constitutive heterogeneity of the “body of the fall”, meaning the body in its double polarity, that is both as a physical object that undergoes the action of gravity, and as a social subject that deals with the inevitability of its condition by creating narratives, images, ways of existing/resisting.
Therefore, we refer to a physical and cultural body at the same time: the transgressive body, the pain-body, the female body, the body of love.
The fall, in one of its translations, represents the sign of punishment and finds a link with the concept of exceeding the limit and transgression of the norm.
The construction of the practice, which is intended to be both a custom and a unique event, has two key points. The first concerns the search for a poetic and non-imperative language, able to support the complexity that is needed to feed the imagination of the practitioners and to color the landscapes in which they move.
The second considers the investigation of the new-born body, i.e., an hyperbody that, after the first fall of birth, finds itself immersed in the extreme materiality of being exposed to the world and the discovery of its weight in a hyper-bodily experience.

Dancer and dance maker,
through a procedure of “affective mapping”, she loves to compose bodies and ideas to create landscapes made of relationships, associations and emotional geographies. In 2013/2014 she participated in the training course MoDem of Compagnia Zappalà Danza, in Catania. In 2017/2018 she graduated in DAMS, at the University of Turin, with a thesis in history of dance.
Furthermore, her view owes much to the encounter with the work of Lorenzo Bodi, Francesca Cinalli, Loris Petrillo, Anton Lachky, Marco d’Avenia, Daniela Paci, Doriana Crema, Gabriella Maiorino, Daniele Ninarello, Marta Ciappina, Chiara Bersani, Motus.
She collaborated with various shows and performance projects of Compagnia Tecnologia Filosofica, Balletto Teatro di Torino, Raffaele Irace, Laurent Pellisier, Paolo Armao, Masbedo, Alessio Maria Romano. Together with Teresa Noronha Feio and Annalisa Cannito, she is an author of Cronòtopia, winner of the tender Officin&Ideali-Residenze in transito 2019 and of A Thousand Ways to Fall.

Valerie Tameu is with us in: Edizione 2021,

Michela Depetris

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TRANSFARAOKE (daffodils are 50% human) -> ballo mutante telepaticX is a project in progress. It is a hybrid performance that travels between karaoke, possession ritual, party, video and other things that are not yet well defined. It is a reflection on the connection between various realities (human, animal, vegetal, mineral, bacterial, extraterrestrial, technological, material, immaterial, telepathic, dreamlike) that compose the vibrating matter in which we are immersed and of which we form part, perceiving material not as something that separates and distinguishes things, but as something allowing their meeting and mixing. This research stems from my interest in contemporary rituals of encounter and from a fascination with the idea of ​​transformation. I start from the assumption that bodies are social flesh, active matter in relation to other matter that is constantly evolving, and that, therefore, there is no position outside nature. I explore formulas (magical? scientific? chemical?) to escape the trap of binary thinking and that make bodies permeable, contaminated and contaminating, porous, multi-species. I wrote: “I have dreamed of being an alien and of organizing popular karaoke on planet Earth, at-home parties to stir pupils, vocal cords, asses, legs, leaves, consciences. I have written texts full of banality into which I poured alien intelligence that entered humanity from the screen, effortlessly accompanying it so it can touch another dimension.”

She studied dance, performance practices and visual arts in Italy and Spain, crossing and meeting the work of many different artists such as La Ribot, Vera Mantero, Elena Cordoba, Olga Mesa, Xavier Leroy, Paz Rojo, Camille Hanson, Ester Ferrer, Juan Loriente, Matar Zamir, Silvia Calderoni/Ilenia Caleo, Claude Coldy, Raffaella Giordano, Doriana Crema, Giorgio Rossi, Motus, Marigia Maggipinto, Kinkaleri, Cesare Petroiusti, Matthew Barney. She works at the crossroads of performance, choreography and visual arts, often using music, sound/voice and videos as media to connect, touch and involve the audience. She investigates the ideas of transformation, ritual, natural and artificial, visible and invisible, exploring the connection between intimacy, gaze/vision, perception and vulnerability, using images and sometimes words, trying to re-create and discuss our complex approach to the present/future/past from a feminist/transfeminist/queer perspective. Her research is often playful, humorous, chaotic, mysterious, hybrid and poetic, tapping into the complexity of the present and trying to find an escape from anthropocentrism.
*She would like to be a mushroom, a frog, a chemical producing visions*.

Michela Depetris is with us in: Edizione 2021,

Marta Olivieri

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2017 > 17 and 2021 edition

Trespass | processing an emerging choreography, wishes to open a space and time to contemplation. It fits into the research between the visible and the invisible and integrates the work of S.U.D.M.U.P. It wants to investigate the multiplication of the gaze and the emergence of a body, through absorption and restitution.
It uses coincidence but does not exclude discrepancy.
Two performers inhabit the space, observing the surroundings with the aim of returning an interpretation of it, generated by the encounter between the “me” and the context.
There is no division between audience and performer.
The observer, furthermore, can cross and modify the space by moving his point of view.

The structure of the work allows its continuous writing, presenting a new genre of emergence with each reproduction, as a consequence of the specific inhabited space.

Marta Olivieri is author and performer. Her artistic interests want to question the unforeseen contestaul datas that move a body. Writings, sounds, temperatures and the city landscape are the areas of her research.
The body moves between the visible and the invisible attempting a continuous happening on the sides of the structure it inhabits. The creative process wants to build a ground for a formal structure and its possible deconstruction to coexist. She attends Formazione Bartolomei Training and Modem courses at Scenario Pubblico. In 2015 she met Marta Ciappina, performer, movement coach and teacher, with whom she started an assiduous path of study.
She also studied with: M. Kejzar, M. Kilvady, G. Scarcella, J. Neves, A. Cristiani, E. Giannotti, M. Rizzo, C Delorenzi, E. Gervasi,A. Ajmone, C. Morganti, K. Takagi. In 2018 she graduated as a Somatic Movement Educator within the Body-Mind Centering®️ training program. During the same year she conducted somatic and compositional research workshops at Scenario Pubblico. She works as an interpreter for DOM-, she worked with Riccardo Guratti and Michele Rizzo. From 2019 she participates in the Roma Non Esiste project (DOM-) and is curatorial member of SiR. She collaborates as well with ATI Suffix, a collective of architects, artists, philosophers and researchers, whose work is intertwined with architecture and relational art. Besides, she collaborates with Roberta Mansueto | Takecare project.

Marta Olivieri is with us in: Edizione 2016-17, Edizione 2021,

Mirko Guido

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He completed his Master in Performative Practices at SKH (Stockholm University of Arts). He works with choreography as an expanded practice, and builds performative spaces through a transdisciplinary approach, using different means, including dance, video, text and participatory practices. His researches focus on exploring, reinventing and experimenting with the constant negotiation of roles, responsibilities, aesthetics and ethics that operate in the context of his choreographic practice. In his processes he uses methods inspired by documentary techniques, game structures and somatic practices. He questions and articulates distances between personal archives and ready-made materials, between attention to the relationship with the Other with the space and with bodily sensations, between the subject and the object, crossing these experiences transversally to destabilise dualistic separations. His first choreographic works earned him the First Prize and the Audience Award at the International Choreographic Competition in Hannover, and a nomination as Young Choreographer to Watch in the Ballet Tanz magazine. He has created works for the Staatstheater Saarbrücken and the Staatstheater Wiesbaden, before moving on to projects as an independent artist. He has presented his works in various venues in Sweden, Italy, France, Serbia, Portugal, Greece, Germany and Switzerland, and has been in residence at art centres such as PACT Zollverein, Uferstudios, Work Space Bruxelles, Summer Studios Rosas, Dansens Hus, c.off/CCAP, Saari. As a dancer he was part of the dance companies at the Theater Hagen, Tanz Theater Bielefeld, Staatstheater Saarbrücken, Staatstheater Wiesbaden and the Cullberg Ballet, working with a wide variety of choreographers and experimenting with very different choreographic methods.

Mirko Guido is with us in: Edizione 2020, Edizione 2021,