Marko Gutic Mizimakov
resident artist 2024,
resident artist,

Category: resident artist

Marko Gutic Mizimakov

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(SCIENCE)
Continuing to research the mutually transformable through performance, text and image making, I am interested to look into, observe and register the notion of the alien, the viral and the infectious as affective, bodily and technological phenomena. In addition to exploring weird fiction as a template for embodied experience, I am curious how the literary character of ‘the scientist’  could work as a score, rather than a script. — Out of nowhere comes a bundle of text, a piece of language. Ominous and threatening, this alien enters (through the ear? or is it the eyes?) and soon it is no longer possible to voice to mouth to speak without housing this intruder.

Marko Gutić Mižimakov (1992) is a visual, performance and text based artist living between Brussels and Zagreb. They are interested in shaping sensory materials through intimate, collaborative and social processes. In their work bodies, as well as digital and palpable objects, are animated, choreographed and sung into non-orientable forms via different media and processes of translation. Often borrowing from queer science fiction they see their work as a speculative technology of mutual transformation. In 2022-23 They were an artistic researcher at A.PASS – Brussels. Currently they are an adjunct faculty member at Paris College of Art in the department of Transdisciplinary New Media.

Marko Gutic Mizimakov is with us in: Edizione 2024,

Miranda Secondari

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Where does the counterpoint, the tic, the slip, the deception, the illusion, the hallucination fit into choreographic writing?
My research is in the small event that triggers a change or generates a question, it is in the exchanged word, the unexpected gesture… what happens when these fragments of action multiply?
Starting from an almost mimetic work of daily actions, my research has led me to a deconstruction of the gesture, which I would like to lead to exasperation, inserting a crescendo of fragments and “parasitic” actions that, through a work on rhythm and repetition, perhaps become less and less recognisable, depriving it of its original meaning and in which the spectator can find his own symbolism and vision.

Choreographer, Performer and Yoga Teacher.
Her choreographic practice focuses on precise and time-dilated movements that lead to the emergence of unexpected images. Her work on the body between immobility and mobility explores the dichotomy between subject and object, sculpture and moving image, and highlights the relationship between body and space.
The performative intervention dialogues with and relates to the given space. The objects, costumes and sounds used on stage are things that are given a meaning, a symbolic value; during the performance the things and their value are brought to light or removed from the viewer’s eye. The peculiar contradictions of the human figure, made up of unexpected events, drama and irony, are the basis of his poetics.
She a degree in garden architecture and landscaping. She worked as a dancer for Lucia Latour’s company Altroteatro, founded the company Anagrama (2009-14) and has collaborated with artists and choreographers over the years. During her studies she got in touch with artists such as Romeo Castellucci, Yasmine Hugonnet and Silvia Rampelli.
She is currently working on the choreographic project FOLA, divided into two chapters (Fola Chapter 1 | Gherminella Chapter 2) with the support of the Centro Nazionale di Produzione della Danza Virgilio Sieni and Fondazione CR Firenze and MAD_Murate Art District in Florence.

Miranda Secondari is with us in: Edizione 2023,

Polina Fenko

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This performance research departs from the post-French Revolution gatherings known as “Balls of Victims” (real or imagined), in which descendants of guillotined parents recreated their trauma through social dances. Reflecting on this historical example, I explore similar historical and contemporary precedents in mourning, initiation ceremonies, and protest culture. My performance navigates the junction of collective imagination and memory, blending physical reenactments with imagined archives across various mediums (text, sound, moving image) within the genre of choreographic mockumentary.

Polina Fenko, born in 1997 in Saint-Petersburg, is an emerging dance artist and dramaturg with a base spanning Amsterdam and Berlin. She holds an MA in Contemporary Theatre, Dance, and Dramaturgy from Utrecht University and a dual BA in Art History from the Faculty of Liberal Arts and Sciences (Saint-Petersburg State University and Bard College, New York).

In her performances and installations, she works with diverse forms of documents (like breathing scores, bodily imprints, dreams) that create liminal spaces of plural bodily realities through methods like infusion, overlay, juxtaposition, and disamalgamation. Themes include catastrophic thinking, fractal memory as bodily memory, and relational bodies shaped by personal and collective memories.

As a dance artist, Polina explores the format of social choreography that deals with exploration of alternative forms of coexistence and ways of relating to each other, while reimagining the notion of the social. In Amsterdam, she founded an Instant Composition Collective uniting performers, musicians, and interdisciplinary artists in experimenting with instant composition as both method and artistic practice within collective improvisation.
Driven by an interest in alternative forms of knowledge production she organises multidisciplinary laboratories that create spaces for experiential education and discussions in other than verbal types of communication. To mention just a few: Microurbanism and Microchoreography, Vulnerability and risk taking in instant Composition, On Minor Gesture and Microperception.

Polina Fenko is with us in: Edizione 2023,

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,