2023 Archivi - Page 4 of 4 - WORKSPACE RICERCA X

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.

Since 2018 she is part of the curatorial team of Workspace Ricerca X – Dramaturgy and research.

resident artist 2018

Within the archipelago of my research, January 2018 residency will be focused on two principal islands.

The first one will be the continuation of Siate misteriosi e sarete felici in which the working trajectory includes choreography conceived as the formation of a landscape whose principal matter is atmosphere and its variability. This might means to choreograph the air contained within a space as well as to choreograph the behavior contained within a movement. What kind of choreographic condition may result from a proposition of this kind? Or better how will choreographic intention behave faced to such idea?

The second island implies the choice of a point of view on the first one and is dominated by the title “Spectacular research: can research be entertaining?”. This sentence will be the framework of the experiment driven by the fundamental question How to present a research and how to look a research?

resident artist 2015-16

Siate misteriosi e sarete felici<br />(If you’ll be mysterious, you will be happy). This sentence was sculpted on wood at the entrance of Gauguin’s house on the Hiva Oa island. This is the title I have chosen for my actual research.
The work is part of a wider project based on the idea to experience time and space in a different ways through collective actions with the aim to blur the line between objects and subjects and other kinds of dualisms.

In a letter of 1939 Walter Benjamin writes about the end of time saying that the ideas and the pieces of art will join the realm of nature as, like nature, they reveal themselves by veiling themselves. Thus, the objects exist at the same time in a mysterious as well in an open way. Within the frame of Ricerca X I will be looking to create a set of tools to process behavior as a movement and collective behavior as a choreography. Specifically I am interested to understand how a collective behavior can affect the space and create a specific atmosphere.

Ambra Pittoni is a performance artist and researcher interested in how the entanglement between bodily practices and spatial circumstances emerge as a territory of affectivity and as a vehicle of unexplored epistemological potentialities. To that extent she uses choreography, somatic practices, installation, sound and writing to explore and produce fictional bodies, knowing modalities, collective circumstances of getting to know.

She graduated at the University Paris 8 with a thesis on The end of art and she is a PhD candidate at the Linz University of the Arts with the project The promise of the abyss – Body practices and new spaces of knowledge. In 2022 she has been a fellow of the VALIE EXPORT center. Among others she presented her works at OGR (Turin), PAV (Turin), Fondazione Baruchello (Rome), Crédac (Ivry sur Seine), De Appel (Amsterdam), Maga Museum of art (Milan), CCA Zamek Ujazdowski (Warsaw), Ashkal Alwan (Beyrut), Roberta (Frankfurt), Sophiensaele (Berlin). She has been visiting professor at NABA (Milan) and ENSAPC (Cergy). Recent publications are The Saintly Hypochondriac, by The School of the End of Time) published in L’ANO SOLARE, a year long programme about sex and self-display, curated by Il Colorificio, published by Axis Axis, Ten obvious and not so obvious questions about artistic research, in the Artistes Chercheur.es / Chercheur.es artistes Performer Les Savoirs, curated by Chloé Dechery and Marion Boudier and published by Les presses du réel.

Together with Paul-Flavien Enriquez-Sarano and Lucrezia Calabrò Visconti she found The School of the End of Time, a research based institution with a non hierarchical approach between theoretical and artistic research.

Since 2018 she is part of the curatorial team of Workspace Ricerca X – Dramaturgy and research.