Marko Gutic Mizimakov
resident artist 2024,
resident artist,

Category: 2024

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,

Silvia Bottiroli

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Ripetere, interrompere, sospendere. Il ritmo come principio curatoriale
(Repeating, interrupting, suspending. Rhythm as a curatorial principle)

Silvia Bottiroli is a curator and researcher, working in the field of the live arts and in particular at the intersections of performativity, institutional practices and pedagogies.
She is part of the artistic cohort of Rose Choreographic School in London, teaches at Bocconi University in Milan, and curates, together with Silvia Calderoni, Ilenia Caleo, and Michele Di Stefano, the three-year period 2025-2027 of Short Theatre in Rome.

Within the broader field of research on curating as a choreographic practice, Repeating, interrupting, suspending explores, through an open constellation of case studies (performances, interventions, artistic practices…) rhythm as a curatorial principle, with a particular focus on the relationship between performance practices and public space and on the emergence of forms of political subjectification.

Silvia Bottiroli is with us in: Edizione 2024,

Ambra Pittoni

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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.

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.

Ambra Pittoni is with us in: Edizione 2015-16, Edizione 2018, Edizione 2019, Edizione 2020, Edizione 2021, Edizione 2022, Edizione 2023, Edizione 2024,