2015-16 Archivi - Page 2 of 3 - WORKSPACE RICERCA X

E’ artista residente insieme a Paolo De Santis.

artista residente 2022

Co-fondatrice del collettivo torinese Tecnologia Filosofica, esplora i confini tra danza e teatro con la sua traiettoria di ricerca Il Corpo Rituale. Dal 2008 produce performances presentate in festival di danza italiani e internazionali, ricevendo premi e menzioni. Coreografa selezionata per Crossing The Sea 2019, bando per la mobilità degli artisti italiani in Asia, collabora con Shanghai International Dance Center per la produzione di Sinfonia H2O, vincitore Residenze Coreografiche della Lavanderia a Vapore con il sostegno della Fondazione Piemonte dal Vivo. Collabora con l’artista franco-giapponese Anan Atoyama per le produzioni Hydden Body e Limpid Sun presentato alla Triennale d’Arte Setouchi in Giappone nel 2019. Collabora con il regista cinematografico Milad Tangshir per la produzione del film in VR Hydrocosmos.

artista residente 2015>2016

Nell’ambito della residenza Workspace RicercaX, il percorso di Francesca Cinalli, danzatrice-coreografa e Paolo De Santis, musicista-compositore, si focalizzerà sulla dimensione rituale nella performance: un confronto costante tra filosofia e tecnologia, in bilico tra artificio e natura.
Magneticamente attratti da una ruralità-pop, una freccia: possibili direzioni, l’arco che si tende, la posizione, la forza e l’equilibrio che precedono lo scoccare: realizzare l’essenza sottile che sta dietro la forma.

A partire dagli studi della danza classica, il suo percorso si orienta verso la danza contemporanea e il teatro-danza con maestri nazionali e internazionali: Giovanni Di Cicco, Roberto Castello, Virgilio Sieni, Giorgio Rossi, Doriana Crema, Raffaella Giordano, Dominique Dudzinsky e Marigia Maggipinto/Tanztheater Wuppertal, Carolyn Carlson, Simona Bucci, Cesar Brie, Alessandro Berti, Michele Di Mauro, Compagnia PippoDelbono.
Si diploma nel 2006 presso I.A.T. Gong_Istituto di Arti Tradizionali dei popoli e delle culture a Genova.

Danzatrice, coreografa e interprete della Compagnia Tecnologia Filosofica di Torino dal 2000 per le produzioni: NIJI_una preghiera/Premio della critica Ermocolle 2012, inserito nella programmazione artistica dell’Istituto Italiano di Jakarta-Indonesia 2015; CANZONI DEL SECONDO PIANO Co-Produzione Théatre Durance, Festival di Avignone, CDC Les Hivernales, Theatre Raymond Kabbaz-Los Angeles, Festival TorinoDanza; IN SUPERFICIE Co-produzione La Piattaforma, Inside/off Mosaicodanza, Palcoscenico Danza_Coreografi del Piemonte, Progetto AS IT HAPPENS con il patrocinio del DAMS Università degli studi di Torino, in collaborazione con Museo d’Arte Contemporanea Castello di Rivoli, Officine Caos, Festival Verdecoprente Umbria; Progetto START ME UP sostenuto dalla Fondazione Piemonte dal Vivo.

verso une flèche

di C.ie Tecnologia Filosofica_Torino
danza e coreografia Francesca Cinalli
musiche composte da Paolo De Santis

verso une flèche

di C.ie Tecnologia Filosofica_Torino
danza e coreografia Francesca Cinalli
musiche composte da Paolo De Santis

Corpocentrico is a research project activated in 2011. In its various development phases, it focused on different stages of life, exploring the concept of the mutable body.

Concept
Our starting point in this research project is the body: more specifically, taken its characteristic of mutable entity in continuous transformation, we intend to pose ourselves questions regarding the behaviour and the emotional states directly related to change, for an individual in connection to his/her body, to the image of the body, and to the bodies of others.
We want to give voice to the body in order to let it speak for itself, about its conditioning, the story inscribed in it, as an operator and at the same time object of the language itself.
This approach opens up considerations regarding the vision of corporeality in today’s society: despite its role of central horizon, obsession and surface on which political practices are inscribed, the body still remains partially undefinable, not as an unknown or mysterious object, but rather because its mutable nature escapes every strict categorization and any definition proves to be incomplete.
The body behaves as a threshold between biological matter and construct, it is a border between nature and artifice. It takes shape and builds upon according to the biological, social and political determinations ascribed to it from time to time.

Elena Pisu. Choreographer and dancer, 1979
Elena started studying ballet in Torino. She then moved to the United Kingdom, where she trained at London Contemporary Dance School and Northern School of Contemporary Dance, from which she graduated in 2000 (BPA Dance Degree) with Merit.
She studied ballet with Ronald Emblen, Cristian Addams and Niall Mc Mahon, Cunningham technique with Bernadette Iglich and Kate Price, rep with Richard Alston, Limon/release with Duncan MacFarland, Graham technique and rep with Juliet Fisher, Sharon Donaldson, Gurmit Hukam and Namron, contact improvisation with Beth Cassani, composition with Sue MacLennan and Karen Greenhough, dance history with Christy Adair. In her last year at NSCD she took part in the performing group Verve, as a perfomer in a work by Wayne Mc Gregor, and as a choreographer, with her first work “Chi lo dice lo è”.
In London and Leeds, she attended classes and workshops by companies DV8, H2dance, Henri Oguike, Richard Alston, Phoenix Dance company.
Back in Italy, she took on an apprenticeship with compagnia zappalà danza (Modem Studio Atelier, Catania, 2003-04).
She studied theatre for the youth at the Piccola Accademia del Teatro Ragazzi e dell’Animazione in Torino (2007-08).
She continued her educational path participating in workshops with Raffaella Giordano, Doriana Crema, Michela Lucenti, Alessandro Buggiani, and with Quan Bui Ngoc and Juliana Neves of Les Ballets C. de la B., with whom she completed a masterclass in 2010.
In 2000/01 she worked with London-based company genau dance collective.
In Italy, she worked with choreographers Stefano Mazzotta, Cristina Golin, Valeria Del Vecchio and theatre directors Aurelio Gatti and Elio Gimbo.
In 2003 she worked with Pulsar dance company on site specific projects in collaboration with Italian architect Alessandro Mendini.
She is founder, choreographer and dancer of the company Grimaco_movimentiumani (2004). She continues collaborating as a choreographer, dancer and vertical dancer with theatre and dance companies, among which Teatro di Castalia, art. director Andrea Battistini, Stalker Teatro (Torino), Mo.Lem (Torino), sudatestorie teatro ricerca (Torino). As from 2013 she is a member of dance company TiDA théâtre danse.
Since 2001 she has been teaching contemporary dance, creative movement and improvisation to classes of children, youths and adults in dance schools, youth centres and schools. She consistently collaborates with Institut de Danse du Val d’Aoste as a contemporary dance and improvisation teacher.
In 2014 she worked as assistant for Marigia Maggipinto, teacher and former member of Tanztheater Wuppertal, within the project “Focus Tanztheater” organised by Stalker Teatro (Torino).

CORPOCENTRICO

regia Elena Pisu e Marco Chenevier
con Elena Pisu
scene e luci Andrea Sancio Sangiorgi
produzione TiDA – théâtre danse
in collaborazione con Officine CAOS
un ringraziamento speciale a Francesca Cinalli, Rebecca Rossetti ed Erika Di Crescenzo

nei capitoli precedenti, hanno partecipato al progetto #1 Daniela Bramanti, Gianni Ricciardi #2 Ambra Zambernardi, Marco Brunazzi, Alberto Valente, Claudia Danielis, Liliana Vaccarino, Pierluigi Bruno

CORPOCENTRICO

Coreografa,danzatrice,vocalista.
E’ attiva da oltre 25 anni nel panorama della danza contemporanea in Europa e Stati Uniti.

Dall’83 è parte di Group/O di Katie Duck, è con Company Hamilton (UK, NL) nel 1993 e nello stesso anno con Parco Butterfly. Nel 1994 lavora con Sasha Waltz and Guests (D) alla prima produzione Twenty to Eight – Travelogue I Nel 1989 fonda Company Blu insieme ad Alessandro Certini e ne è co-direttrice e coreografa.
Premiata Danza&Danza 2000 per lo spettacolo Tempesta di Sogni, Charlotte è presente in festival internazionali quali Rotterdam Festival, Dance Umbrella Londra, Festival De Dansa Post Moderna Caracas, Festival A/D Werf di Utrecht, New York Improvisation Fest., L’Animal a l’Esquegna Girona, The Naked Stage Lujbjana, Tanz Tage Freiburg, Sic Festival Varsavia, ID Fest. Los Angeles, Radialsystem V Berlino, Milano Oltre, Fabbrica Europa Firenze.

Altre collaborazioni includono numerosi progetti estemporanei con artisti quali S. Paxton, P. De Groot, K. Simson, J. Hamilton, V. Sieni, A. Alessi, N.S. Smith, M. Tompkins, D. Zambrano e musicisti come T. Honsinger, M. Moore, La. Fishkind, A. Salis, S. Noble, M. Fantoni, M. Parente e N. Raffone, S Cortesi, per citarne alcuni.
È insegnante ospite presso E D D C (Arnhem-Dusseldorf), Dartington College of Arts (G.B.), Bewegungs Art (Freiburg), Studio Area (Barcellona), Accademia di Danza (Roma), corsi di formazione professionale in Italia come: Università Cattolica di Brescia, corsi di formazione provinciali di Milano, Lucca, Livorno, formazione CPDC Firenze e Centro Danza Company Blu. Dal 2011 insegna per la compagnia Sasha Waltz and Guests ed è annualmente ospite come insegnante di workshop e progetti performativi (Radialsystem V, Berlino).

La mia ricerca coreografica per ora è legata alla creazione di due assoli – oltre all’esperienza di danzatrice in lavori di gruppo.
Nel 2013 ho creato il primo assolo “Il volume com’era” e al momento sto lavorando al secondo “Un minimo distacco”.

In entrambi i casi sono partita dalla ricerca di una qualità di movimento specifica, un principio che fosse alla base della composizione coreografica e che la rendesse il più possibile connotata, articolata. E’ successo che il lavoro astratto sul corpo andasse avanti parallelamente alla comprensione della struttura drammaturgica dei pezzi.

Nell’ambito di Ricerca X mi piacerebbe condividere quello che sto scoprendo attraverso la mia ricerca sul movimento e sperimentarla su altri corpi.

Caterina Basso trained as a dancer in Bologna where she graduated in Communication Studies with a thesis in Theatre Semiology. In 2006 she was selected for the Inteatro Festival Academy in Polverigi, at the end of which she presented her first choreographic work. Since 2007 she has started her collaboration with ALDES and Roberto Castello, dancing in several productions. She has also collaborated with other companies and artistis, including Motus, Silvia Traversi, Ariella Vidach, Laura Moro. During the same years she spent intensive periods of study in New York, Tel Aviv (Batsheva Dance Company) and Berlin (Sasha Waltz). In 2009 she started her collaboration with Ambra Senatore for Passo, winner of Premio Equilibrio Roma. Since then she has been working with the company: she has performed and collaborated to the creation of Studio, A posto, Insalata al veleno, Petites Briques and Aringa Rossa, which has been presented at Théatre de la Ville in Paris in 2015. In 2014 she performs in Senza Titolo and Mondo Novo by Jerome Bel in Venice. In 2013 she creates her first solo piece Il volume com’era for the Venice Biennale Prima Danza project. The solo has been selected by Anticorpi Network XL 2014 and won the first prize at Masdanza festival 2015. In the same year she creates her second solo “Un minimo distacco”.
She speaks Italian, English, French and Spanish.

‘I am shape, in a shape doing a shape’
Berlin, 2014

‘I am shape, in a shape doing a shape’ is a solo piece by the Berlin-based Italian choreograper and dancer Barbara Berti. In a free-flowing mixture of movement and language, of preconceived sequences and improvisation, Berti explores the interplay between the dancer and the spectators — an experiment in sensitivity where the slightest change in energy in the room may be picked up and amplified. The result is a performance full of quick shifts in atmosphere: from lyrical to humorous to matter-of-fact to philosophical.

This solo revels and bring in conversation the lecture that a public does within a performance in interaction with own inner space.

In her research in these past few year she has been exploring the human body and mind, developing an approach to dance performance through a method, that examines the effects of the hidden connection between the body, the mind and how those manifest in relation with an audience, started from a research in empathy.
‘I am shape, in a shape doing a shape’ won the HAU2 Theatre’s Jury Award during the 100° Festival in Berlin, 2014. Berti uses a system she began exploring in a duo piece called “Aoouuu”, developed in 2013. Presented with the first piece of the research in 2014 in the festival Tanztage Berlin.

Born and raised in Bologna, Italy, Barbara Berti bases herself in Berlin. She works on her own choreographic projects and collaborates with dance and theatre artists in performance art work through Western Europe, like: Judith Seng, Tino Seghal, Gabi Schilling.

She rooted her career in graphic design then in physical theatre and dance; continued studying different techniques in contemporary dance, contact improvisation and Body-Mind Centering approaches. she is interested in issues of kinesthetic empathy and the embodied transmission of physical experience in the interaction with the audience. In 2014, winner of the Jury prize HAU 2 of her solo “I am a shape, in a shape, doing a shape” for the festival 100° Be.

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.

“(…) Tutto quello che c’è di fisico nella vita non è fatto solo di materia solida, ma piuttosto di campi di energia o da schemi ritmici di informazioni. Tutta la materia è piuttosto “nessuna cosa” (energia) che “qualche cosa (particelle)” J. Dispensa

I am interested in the empty space, devoid of superfluity and preconceived schemes; the life that is born from this vacuum and the pace at which it evolves. A body that is receptive opens itself up to possibilities of time and space and continually feeds the imagination, maintaining a constant dialogue inside and out, between something that is set and the spontaneous creativity that emerges staying in the present; between activeness and passiveness.

Cinzia Sità, dancer, graduated in Choreographic Composition from the National Academy of Dance in Rome, immediately followed by a two-year course of higher education in Scripture for Contemporary Dance directed by Raffaella Giordano. She continued her artistic exploration studying with, among others, Carolyn Carlson, Susanne Linke, Julyen Hamilton, David Zambrano, Pierre Droulers and under scholarship at Tanztheater Wuppertal Pina Bausch. She credits her meeting with Francesco Scavetta at the Centre for Performing Arts, Tanum in Vitlycke fundamental for her research in movement analysis.
Since 2012, Sità has been an Associate Artist of Sosta Palmizi. As a performer, she has worked with Raffaella Giordano, Giorgio Rossi, Oretta Gonzo, Daniele Ninarello, Arearea Company, Amina Amici, Caterina Genta, Francesca Beatrice View, Helen Cerina, for the visual artist Valentina Vetturi and as a collaborater with the dance theater group Samotracia. She has also participated in projects directed by Gabriela Carrizo (Peeping Tom), Juliana Neves and Quan Bui Ngoc (Les Ballets C de la B).
In 2011, along with 11 other artists, she founded Famigliafuch , an artistic collective focusing on movement research. Famigliafuch has participated in the Santarcangelo Festival 2011, the FAST-Terni Festival and was selected for Takla Making Arts. They were finalists of Premio Equilibrio 2012 with the project Quaderni. Her solo Medea, nel luogo della mia memoria, a project supported by Sosta Palmizi, was selected for Raid Off 2014.
Currently, Sità alternates between roles as choreographer and performer. She has also begun to use the voice as a motor and counteraction of movement itself, with the intention of expanding her peculiar sense of expression. In addition, she teaches freelance, primarily in Italy.

04 > 16 April 2016
ore :

Collegno (TO) Lavanderia a vapore
Corso Pastrengo, 51

Category: 2015-16

Francesca Cinalli

Elena Pisu

Daniele Ninarello

Charlotte Zerbey

Caterina Basso

Bart Van Den Eynde

Barbara Berti

Ambra Pittoni

Cinzia Sità

Residency

info biglietteria