INFO & TICKETS
ALL WEEKEND
dal/from 17/07 a/to 08/08 – sala comando
dalle/from 17.30 alle/to 21.30 e/and dalle/from 23.30 alle/to 24.00
Storia Notturna
mostra /exhibit
Darius Robin Dolatyari-Dolatdoust_ Moving Landscape grande feltro_ ph Rachele Salvioli.
Curated by Simone Frangi and Denis Isaia
The artists of exhibition are Mercedes Azpilicueta (Argentina), Chiara Camoni (Italia), Darius-Robin Dolatyari-Dolatdoust (Francia), Francesco Fonassi (Italia), Luca Frei (Svizzera), Raffaela Naldi Rossano (Italia), Anna Perach (Ucraina)
Storia Notturna is a collective exhibition curated by Simone Frangi and Denis Isaia, conceived in the context of XL 's live programming as a new episode of exhibitions promoted by Centrale Fies about the countless relationships between objects - whether physical, immaterial or virtual - and the possibility to activate them. The project, on display from 17 July to 8 August at Centrale Fies, brings together a group of international artists who have been able to intensify the mutual relationship between objectivity and performance.
Storia Notturna acquires its title from the historical-philosophical work of Carlo Ginsburg devoted to the analysis of sabbah, witchcraft and practices of care and material transformation which, inscribed in a "twilight" threshold, nocturnal or dark, have influenced ways of inhabiting the world "beyond rationality", taking on deep social and political meanings in the alternative history of the West.
dalle/from 17.30 alle/to 21.30 e/and dalle/from 23.30 alle/to 24.00
OHT Office for a Human Theatre
19 LUGLIO 1985
una tragedia alpina
installation
© OHT-19 luglio 1985, ph_MoniQue / foto Courtesy_Centro_Santa_Chiara
Catastrophe is a word related to Greek tragedy, indicating the reversal of the story that dissolves the plot and leads to catharsis. If in Greek tragedy the human arrogance, which leads to catastrophe, is declined towards the divine, in 19 JULY 1985 the human hýbris is accomplished towards the alpine landscape. Here the catastrophe is literal; it is the reversal of the whitish mud deposited in the sedimentation basins that swept away the Stava Valley. The void, left by the mudflow, materializes the unrepresentability of this tragedy. The only possibility is the chorus as, since the Greek tragedy, it is a declaration of war against naturalism in art. Within this battle, 19 JULY 1985 becomes a tragedy unfolding in space rather than time; an installation for Centrale Fies. The scenery deconstructs itself in infinite directions and crystallizes its movements by freezing them in the initial and final instant. The choir becomes a spectre singing Lux Aeterna, whose musical canons are modulated in dissonant rhythms and tempo becoming a very dense sound mass without a clear direction, just like the mudflow: very dense and without a clear direction.
19 JULY 1985 - an Alpine tragedy
installation by OHT | Office for a Human Theatre
’ndormenzete popin Mountain chant
directing, set-design and text Filippo Andreatta
dramaturgy Marco Bernardi
coripheus, music and sound Davide Tomat
associate set-designer Alberto Favretto
light-design William Trentini / Veronica Varesi Monti
stage-manager Viviana Rella
best-girl Letizia Paternieri
assistent director Veronica Franchi
video Armin Ferrari
producer and administrator Laura Marinelli
promotion and curating Laura Artoni
expert gardener Cleto Matteotti
sound technician Claudio Tortorici
electronic development and automation Enrico Wiltch
animal spirit the Deer
production OHT
co-production Romaeuropa Festival, Centro Santa Chiara Trento
artistic residency Centrale Fies art work space
supported by Fondazione Caritro, Provincia Autonoma di Trento
under the patronage of Fondazione Stava 1985
installation version co-produced by Centrale Fies art work space
in memoriam William Trentini
I WEEKEND
Venerdì/Friday 17.07
h. 18.30 - mezzelune
LIVE WORKS VOL.8
Giulia Crispiani e Golrokh Nafisi
Open studio
Portrait Giulia Crispiani e Golrokh Nafisi_courtesy the artists
Giulia Crispiani and Golrokh Nafisi have been thinking together since 2016. Together they drafted a Manifesto Against Nostalgia, which already traveled to Tehran, Rome, Amsterdam and Bologna. Giulia Crispiani is a writer and visual artist based in Rome, where she is an editor for NERO Editions and Teatro di Roma. Golrokh Nafisi is a visual artist, illustrator, animator and puppet maker based in Tehran.
The city we imagine
“So the city I imagine is a city I remember, I have been there before. Dreams never happen in a future, because time is suspended. If the vectors cease to be linear, then time can cluster and dimensions can open. The city I imagine rotates around the sun thus knows day and night, and gives space and comfort to all her creatures. The city I imagine is not conceived by humanists. Ecofeminism is not considered terrorism. Nor is the end of patriarchy. In the city I imagine all beings are mothers—but not necessarily by biological means. And from the city I imagine, I know we made it on this planet.”
MK
Bermudas
mk_ bermudas_foto credits Andrea Macchia
Bermudas is a choreographic system, for a variable and interchangeable number of performers (from three to eleven). It supports the idea of perpetual motion ruled by an organic order, with the aim to create the relentless quality of a dynamic continuum in space and time, and simultaneously to make visible the workings of the individual performers to feed and alter the general structure. The research is inspired by the theories of chaos and by the generation of complex assemblies from simple conditions, finally by the evolutionary systems of physics and meteorology. This system of movement speaks of closeness and cohabitation between the bodies, who share the same space but have slightly different possibilities to relate to one another. The continuous search for an agreement produces relational tension and shifts the focus on the outside of the body.
varied cast Philippe Barbut, Biagio Caravano, Marta Ciappina, Andrea Dionisi, Sebastiano Geronimo, Luciano Ariel Lanza, Giovanni Leone, Flora Orciani, Laura Scarpini, Loredana Tarnovschi, Francesca Ugolini
concept and choreography Michele Di Stefano
lights Giulia Broggi in collaboration with Cosimo Maggini
meteo Antonio Rinaldi
custom styling Marco Mazzoni e Michele Di Stefano
mathematical advice Damiano Folli
management Carlotta Garlanda
promotion Jean François Mathieu
coproduction mk e Bolzano Danza / Tanz Bozen
in collaboration with AMAT Civitanova Casa della Danza, Residance/DanceHaus PIù Milano, Dialoghi - residenze delle arti performative a Villa Manin Udine, Una diversa geografia/Villa Pravernara Valenza, AngeloMai Roma, L’ Arboreto – Teatro Dimora di Mondaino
with the support of Regione Lazio - Assessorato alla Cultura e Politiche Giovanili
with the support of MIBAC
Anagoor
MEPHISTOPHELES eine Grand Tour
Mephistopheles_white bull courtesy the artist
Under the name Mephistopheles, Anagoor gathers the video material collected between 2012 and 2018 in a travel through images across the tears of the world, with an electronic live set by Mauro Martinuz. A Grand Tour on the dark areas of the cosmos, where darkness and the suffering of generations arise along with the relationship between man and nature, time, technique and the absolute. The massive amount of unpublished images finds its composition in this flight and fall, under the form of a concert cum figuris.
Music e sound design composed by Mauro Martinuz
Concept, writing and direct by Simone Derai
Direction of photography Giulio Favotto
Collaboration of direction Marco Menegoni
Shooting Giulio Favotto, Marco Menegoni, Simone Derai
Editing Simone Derai e Giulio Favotto
Organization Annalisa Grisi
Management e promotion Michele Mele
Executive production Centrale Fies / Stefania Santoni, Laura Rizzo
Production Anagoor 2020
Coproduction Kunstfest Weimar*, Theater an der Ruhr**, Fondazione Donnaregina per le arti contemporanee / Museo Madre***, Centrale Fies, Operaestate Festival Veneto.
In collaboration with Fondazione Campania dei Festival – Napoli Teatro Festival Italia, Orto botanico e Villa Parco Bolasco - Università di Padova.
*support by Ministero dell’Ambiente, Energia e Protezione della Natura della Turingia; **support by Ministero della Cultura e della Scienza della Renania Settentrionale – Vestfalia; *** finanziata da POC Regione Campania 2014-2020.
Sabato/Saturday 18.07
h. 18.30 – forgia
LIVE WORKS VOL.8
Göksu Kunak
Cabaret Portrait: Döner Blackout III
© 2019_Ceren Saner
Cabaret Portrait: Döner Blackout III is a text-based performance, a sci-fi TV variety-show hosted by Gucci Chunk, focusing on the late modernism of Turkey; problematic governmental politics, as well as resilience and protests in relation to Arabesk music and Turkish protest music. The material typical for TV-variety shows are used not to regenerate their aesthetics and theatricality, but to break their neoliberal timing and generate a poetic dimension, and through that create a completely new form, based on the materiality of the language and textuality of the body. Furthermore, the performance contemplates on the slippage of meaning as a result of the neoliberal lingo around news, advertisements, announcements and signs by taking culturally embedded conceptions of the body and nationhood as well as orientalist approaches into account.
MK
Bermudas
mk_ bermudas_foto credits Andrea Macchia
Bermudas is a choreographic system, for a variable and interchangeable number of performers (from three to eleven). It supports the idea of perpetual motion ruled by an organic order, with the aim to create the relentless quality of a dynamic continuum in space and time, and simultaneously to make visible the workings of the individual performers to feed and alter the general structure. The research is inspired by the theories of chaos and by the generation of complex assemblies from simple conditions, finally by the evolutionary systems of physics and meteorology. This system of movement speaks of closeness and cohabitation between the bodies, who share the same space but have slightly different possibilities to relate to one another. The continuous search for an agreement produces relational tension and shifts the focus on the outside of the body.
varied cast Philippe Barbut, Biagio Caravano, Marta Ciappina, Andrea Dionisi, Sebastiano Geronimo, Luciano Ariel Lanza, Giovanni Leone, Flora Orciani, Laura Scarpini, Loredana Tarnovschi, Francesca Ugolini
concept and choreography Michele Di Stefano
lights Giulia Broggi in collaboration with Cosimo Maggini
meteo Antonio Rinaldi
custom styling Marco Mazzoni e Michele Di Stefano
mathematical advice Damiano Folli
management Carlotta Garlanda
promotion Jean François Mathieu
coproduction mk e Bolzano Danza / Tanz Bozen
in collaboration with AMAT Civitanova Casa della Danza, Residance/DanceHaus PIù Milano, Dialoghi - residenze delle arti performative a Villa Manin Udine, Una diversa geografia/Villa Pravernara Valenza, AngeloMai Roma, L’ Arboreto – Teatro Dimora di Mondaino
with the support of Regione Lazio - Assessorato alla Cultura e Politiche Giovanili
with the support of MIBAC
h. 22.00 – cortile forgia
Anagoor
MEPHISTOPHELES eine Grand Tour
Mephistopheles_white bull courtesy the artist
Under the name Mephistopheles, Anagoor gathers the video material collected between 2012 and 2018 in a travel through images across the tears of the world, with an electronic live set by Mauro Martinuz. A Grand Tour on the dark areas of the cosmos, where darkness and the suffering of generations arise along with the relationship between man and nature, time, technique and the absolute. The massive amount of unpublished images finds its composition in this flight and fall, under the form of a concert cum figuris.
Music e sound design composed by Mauro Martinuz
Concept, writing and direct by Simone Derai
Direction of photography Giulio Favotto
Collaboration of direction Marco Menegoni
Shooting Giulio Favotto, Marco Menegoni, Simone Derai
Editing Simone Derai e Giulio Favotto
Organization Annalisa Grisi
Management e promotion Michele Mele
Executive production Centrale Fies / Stefania Santoni, Laura Rizzo
Production Anagoor 2020
Coproduction Kunstfest Weimar*, Theater an der Ruhr**, Fondazione Donnaregina per le arti contemporanee / Museo Madre***, Centrale Fies, Operaestate Festival Veneto.
In collaboration with Fondazione Campania dei Festival – Napoli Teatro Festival Italia, Orto botanico e Villa Parco Bolasco - Università di Padova.
*support by Ministero dell’Ambiente, Energia e Protezione della Natura della Turingia; **support by Ministero della Cultura e della Scienza della Renania Settentrionale – Vestfalia; *** finanziata da POC Regione Campania 2014-2020.
Domenica/Sunday 19.07
dalle/from 18.00 alle/to 24.00 – sala comando
Storia Notturna
A day-long performance
Darius Robin Dolatyari-Dolatdoust_ Moving Landscape grande feltro_ ph Rachele Salvioli.
Curated by Simone Frangi and Denis Isaia
Artists Mercedes Azpilicueta (Argentina), Chiara Camoni (Italia), Darius-Robin Dolatyari-Dolatdoust (Francia), Francesco Fonassi (Italia), Luca Frei (Svizzera), Raffaela Naldi Rossano (Italia), Anna Perach (Ucraina)
II WEEKEND
Venerdì/Friday 24.07
dalle/from 18.00 alle/to 24.00 / 20’
Chiara Bersani
Cordata
Chiara Bersani_white image
‘We may end up measuring the Earth with songs. Or, even further, we will start drawing borders of spices, urban areas of rhythms. We will draw from the vibes of a place to define its width. We will replace miles with memories, meters with ideas, hectares with harmony. (...) Only thus will we be studying more accurate maps, truly outlining a possible human reality.’ (S. Perotti, Atlante delle Isole del Mediterraneo).
I was saying that I am feeling dizzy. It’s world-sickness
I can't be alone another day
I can't go outside because there’s no room for my body outside now. Floating.
I just keep floating.
I love this this action/non-action.
This odd verb indicating ambiguous mobility, a measured move pattern.
Because if you stand still, your body will sink. But if you move decisively, here comes the swimming.
It’s nothing like vibrating or stretching. It’s almost like just listening.
Pontenure
06/06/2020
CORDATA (ROPED PARTY) is an elusive performance. It was conceived during the lockdown days at the beginning of 2020, and consists of an attempt to fulfill a desire - i.e., to observe a landscape together.
CORDATA (ROPED PARTY) is a performance created for and with Centrale Fies, in co-operation with Corpoceleste_C.C.00. It will take place during the days of festival reopening - when many bodies are allowed to re-appropriate public space, while others still have to move with caution.
CORDATA (ROPED PARTY) is a performance that can only exist thanks to the union of bodies different in form, rhythm, identity, place, and perception.
creation Chiara Bersani
roped leader Marco D’Agostin
sound F. de Isabella
research Marta Montanini
promotion and curating Giulia Traversi
organization and logistic Eleonora Cavallo
production Associazione Culturale Corpoceleste_C.C.00# , Centrale Fies (Dro), Residenze artistiche UFO – Teatro Stabile di Trieste.
Mali Weil
Forests | Unlearning
Stendardi/Forests foto credits Roberta Segata per Mali Weil
Forests | Unlearning is a political-dreaming experience which aims to explore the imaginary connected to the word Forests.
Mali Weil invites the audience to perimeter and to get lost within the conceptual word of Forests, throughout a re-enactment of the ancient incubatio (underground rooms of the Classical Greece where to sleep and to dream in order to meet the gods), and by means of a fragmented as well as a recursive audio narration. The performance, whose borders correspond with the historical and geographical edges of western imagination, it is distributed directly on people’s own mobiles and nevertheless combines performative and design languages.
A group of teens, liminal and demonic figures, lead with care the audience through an experience that declare itself fragile and risky.
Throughout this double movement the forest isn’t anymore forest, but a polyphonic, ritual narrative which blurs times and latitudes.
Forests is an artistic, research based project, that sets itself within the conceptual space of the forests, acknowledging it as the physical, historical and narrative space which shaped our juridical language and more than others questions our notion of citizenship.
The forest is a forge of political relationships with otherness: it discloses that magical-linguistic principle which submits all of us to notions like state, nature, citizenship, human.
Forests is made like a performative process of afforestation, composed by several episodes and activities which connect artistic production and scientific research in order to outline new social dreaming practices.
Until today has been realized Forests | Recomposing as lecture for Trento Film Festival, Forests | Unlearning performance premiered at SAAL Biennaal International Performing Arts Festival (Tallinn, EE) and Forests | Experimenting at PAV Parco Arte Vivente Torino.
Beside the performances an upcoming movie and a temporary school which opens upon invitation are included.
Forests is conceived by Mali Weil and coordinated by Centrale Fies.
concept, design e realization Mali Weil
with Leon Fisicaro, Gaia Kurincic, Grete Sommadossi Loner, Josef Sommadossi Loner, Alice Voltolini
realization Companions Isabella Micati - Manifact Weaving
sound design Elettra Bargiacchi
research consultancy Michele Spanò
administration support Roberta Savian, Laura Rizzo
traslations Silvia Coppola
coproduction Mali Weil, Centrale Fies, SAAL Biennaal
with a support by Fondazione Compagnia di San Paolo, in the frame of ORA! Produzioni di Cultura Contemporanea
and with suppurt by Provincia Autonoma di Trento, Fondazione Caritro Cassa di Risparmio di Trento e Rovereto and of i-Portunus - Creative Europe Programme
Giorgia Ohanesian Nardin
Գիշեր | gisher
Giorgia Ohanesian Nardin_gisher courtesy the artist
Impostor Syndrome is ancestral heritage is intergenerational trauma.
Yesterday I had so much fire that I had to lie on the grass facing down with my palms on the ground. I wanted to stop feeling my body burning so much.
Have i become my coping mechanisms?
I self sabotage by having a lot of opinions on the love I receive. But I can never just receive love, who the fuck does that?
I am so tired.
I am so tired.
(I don’t know who I am without my tiredness.)
I wish I could write before my own criticism before this internalized hegemonic sense of worth.
Before the feeling that I haven’t thought of everything, haven’t considered all the possible potentially catastrophic things and wordings that could destroy everything.
Me.
Because it’s so confusing. Yes.
I was born on a monday.
Գիշեր | gisher is a video for a performance space. At the center of Գիշեր | gisher are images, that multiply and discompose the action of looking, asking the viewer to Orient. There are words, written and told and offered and translated and read out loud.
Գիշեր | gisher is the action of feeding, of keeping lit, of burning.
mpostor Syndrome is ancestral heritage is intergenerational trauma.
Yesterday I had so much fire that I had to lie on the grass facing down with my palms on the ground. I wanted to stop feeling my body burning so much.
Have i become my coping mechanisms?
I self sabotage by having a lot of opinions on the love I receive. But I can never just receive love, who the fuck does that?
I am so tired.
I am so tired.
(I don’t know who I am without my tiredness.)
I wish I could write before my own criticism before this internalized hegemonic sense of worth.
Before the feeling that I haven’t thought of everything, haven’t considered all the possible potential- ly catastrophic things and wordings that could destroy everything.
Me.
Because it’s so confusing. Yes. I was born on a monday.
Giorgia Ohanesian Nardin is an artist, independent researcher and queer agitator of Armenian de- scent.
Trained in dance, their work exists is the shape of movement/video/text/choreography/sound/ga- therings and deals with narratives of hostility, rest, friction, sensuality, healing.
Giorgia Ohanesian Nardin is an artist, independent researcher and queer agitator of Armenian descent.
Trained in dance, their work exists is the shape of movement/video/text/choreography/sound/gatherings and deals with narratives of hostility, rest, friction, sensuality, healing.
writing Giorgia Ohanesian Nardin
filming riprese F. De Isabella, Giorgia Ohanesian Nardin
sound and video composition F. De Isabella
video dramaturgy F. De Isabella, Giorgia Ohanesian Nardin
light environment Giulia Pastore
questions Kamee Abrahamian, Ilenia Caleo, Taguhi Torosyan
translation Giorgia Ohanesian Nardin, Taguhi Torosyan
notes on translation Clark Pignedoli
voices Kamee Abrahamian, Chiara Bersani, F. De Isabella, Simone Derai, Maddalena Fragnito, Jamila Johnson-Small, Ndack Mbaye, Giorgia Ohanesian Nardin, Raffaele Tori, Taguhi Torosyan
publication design Flo Low
production Giulia Messia
The video includes images of Ghost Theatre by Vahram Galstyan and Repentance.Variation on themes by Pinturicchio and Raphael (dedicated to Vasily Katanyan) by Sergei Parajanov.
Thank you Studio Azzurro, Luca Chiaudano, Yuri D., Valentina Stucchi
produced by Associazione Culturale VAN, Ministero per i Beni e le Attività Culturali, Regione Emilia-Romagna,
supported by Centrale Fies Art Work Space, AtelierSì Bologna, ICA Yerevan, Spazio Fattoria, DiD Studio
Sabato/Saturday 25.07
TICKETS
“Finiremo forse con il misurare la terra con il canto. Tracceremo confini di spezie, aree urbane di ritmi, riutilizzeremo l’atmosfera di un luogo per definirne l’ampiezza, sostituiremo le miglia con i ricordi, i metri con le idee, gli ettari con l’armonia. (…) Guarderemo così mappe più precise”.
(S. Perotti)
Ho le vertigini, dicevo.
Ho il mal di mondo
Non posso stare sola un giorno di più
Non posso uscire perché all’esterno ora non c’è uno spazio per il mio corpo
Galleggiare.
Continuo quindi a galleggiare.
Quanto mi appassiona questa azione - non azione.
Questo strano verbo dalla mobilità ambigua, questo movimento misurato.
Perché se stai immobile il corpo sprofonda, ma se agisci con decisione ecco subito arriva la nuotata.
Non un vibrare, non un tendersi. Quasi un semplice ascoltare.
Galleggiare è millimetrico. Qualcosa che racconta questo mio tempo.
Galleggio mentre sopra e sotto il mondo si muove.
Voi che iniziate a nuotare siete piccole onde, mulinelli lievi che abitate la superficie intorno a me.
E così io mi sposto per inerzia. Mi spostate voi, l'eco del vostro movimento.
Oggi mi piace. Domani non so.
Galleggiando mi restituite, lentamente, al mondo.
Pontenure
06/06/2020
CORDATA è un opera inafferrabile. Nata durante le giornate di lock – down d’inizio 2020, consiste nel tentativo di appagare un desiderio: guardare il paesaggio insieme.
CORDATA è un opera creata per e con Centrale Fies in collaborazione con Corpoceleste_C.C.00 e prende forma nei giorni di riapertura dei festival, quando molti corpi possono riappropiarsi dello spazio pubblico mentre altri devono ancora muoversi con cautela.
CORDATA è un opera che può esistere solo grazie all’unione di corpi diversi per forma, ritmo, identità, luogo e sentire.
creazione / creation : Chiara Bersani
capo cordata : Marco D’Agostin
sound : F. de Isabella
ricerca / research : Marta Montanini
promozione e cura / promotion and curating : Giulia Traversi
organizzazione e logistica / organization and logistic : Eleonora Cavallo
produzione / production : Associazione Culturale Corpoceleste_C.C.00# , Centrale Fies (Dro), Residenze artistiche UFO – Teatro Stabile di Trieste.
Cordata
Chiara Bersani_white image
‘We may end up measuring the Earth with songs. Or, even further, we will start drawing borders of spices, urban areas of rhythms. We will draw from the vibes of a place to define its width. We will replace miles with memories, meters with ideas, hectares with harmony. (...) Only thus will we be studying more accurate maps, truly outlining a possible human reality.’ (S. Perotti, Atlante delle Isole del Mediterraneo).
I was saying that I am feeling dizzy. It’s world-sickness
I can't be alone another day
I can't go outside because there’s no room for my body outside now. Floating.
I just keep floating.
I love this this action/non-action.
This odd verb indicating ambiguous mobility, a measured move pattern.
Because if you stand still, your body will sink. But if you move decisively, here comes the swimming.
It’s nothing like vibrating or stretching. It’s almost like just listening.
Pontenure
06/06/2020
CORDATA (ROPED PARTY) is an elusive performance. It was conceived during the lockdown days at the beginning of 2020, and consists of an attempt to fulfill a desire - i.e., to observe a landscape together.
CORDATA (ROPED PARTY) is a performance created for and with Centrale Fies, in co-operation with Corpoceleste_C.C.00. It will take place during the days of festival reopening - when many bodies are allowed to re-appropriate public space, while others still have to move with caution.
CORDATA (ROPED PARTY) is a performance that can only exist thanks to the union of bodies different in form, rhythm, identity, place, and perception.
creation Chiara Bersani
roped leader Marco D’Agostin
sound F. de Isabella
research Marta Montanini
promotion and curating Giulia Traversi
organization and logistic Eleonora Cavallo
production Associazione Culturale Corpoceleste_C.C.00# , Centrale Fies (Dro), Residenze artistiche UFO – Teatro Stabile di Trieste.
h. 18.30 – le terme / 60' / Live radio stream
Listening Through (2020)
Questioning gender “through” listenting
A cura di/curated by Claudia D’Alonzo, per la rassegna INBTWN
artisti Elena Biserna e/and Anna Raimondo
© Anna Raimondo
© Elena Biserna
A radio dialogue between Elena Biserna and Anna Raimondo, second contribution of INBTWN - In Between, a programme curated by Claudia D’Alonzo for XL.
PART I - 25 July | live radio stream
On air on INBTWN and across the spaces of Centrale Fies
A radio dialogue between Elena Biserna and Anna Raimondo joining in from two different cities, Marseille and Brussels, including listening sessions from Anna Raimondo’s sound projects and other artists’ works. Listening is their tool: a prism chosen as a vector of complexity and plurality to deconstruct hierarchies, dichotomies, normative discourses and power relations. Directing the conversation from Milan will be Radiovirus. Claudia D’Alonzo will introduce and moderate the discussion from Centrale Fies.
PART II - 27 July-12 September
On INBTWN website.
Later on, the website will host a podcast of the dialogue, together with a series of exercises and scores: a gender-based listening sessions that users will be invited to perform.
Partner: Radiovirus
Media Partner: Digicult
Mali Weil
Forests | Unlearning
Stendardi/Forests foto credits Roberta Segata per Mali Weil
Forests | Unlearning is a political-dreaming experience which aims to explore the imaginary connected to the word Forests.
Mali Weil invites the audience to perimeter and to get lost within the conceptual word of Forests, throughout a re-enactment of the ancient incubatio (underground rooms of the Classical Greece where to sleep and to dream in order to meet the gods), and by means of a fragmented as well as a recursive audio narration. The performance, whose borders correspond with the historical and geographical edges of western imagination, it is distributed directly on people’s own mobiles and nevertheless combines performative and design languages.
A group of teens, liminal and demonic figures, lead with care the audience through an experience that declare itself fragile and risky.
Throughout this double movement the forest isn’t anymore forest, but a polyphonic, ritual narrative which blurs times and latitudes.
Forests is an artistic, research based project, that sets itself within the conceptual space of the forests, acknowledging it as the physical, historical and narrative space which shaped our juridical language and more than others questions our notion of citizenship.
The forest is a forge of political relationships with otherness: it discloses that magical-linguistic principle which submits all of us to notions like state, nature, citizenship, human.
Forests is made like a performative process of afforestation, composed by several episodes and activities which connect artistic production and scientific research in order to outline new social dreaming practices.
Until today has been realized Forests | Recomposing as lecture for Trento Film Festival, Forests | Unlearning performance premiered at SAAL Biennaal International Performing Arts Festival (Tallinn, EE) and Forests | Experimenting at PAV Parco Arte Vivente Torino.
Beside the performances an upcoming movie and a temporary school which opens upon invitation are included.
Forests is conceived by Mali Weil and coordinated by Centrale Fies.
concept, design e realization Mali Weil
with Leon Fisicaro, Gaia Kurincic, Grete Sommadossi Loner, Josef Sommadossi Loner, Alice Voltolini
realization Companions Isabella Micati - Manifact Weaving
sound design Elettra Bargiacchi
research consultancy Michele Spanò
administration support Roberta Savian, Laura Rizzo
traslations Silvia Coppola
coproduction Mali Weil, Centrale Fies, SAAL Biennaal
with a support by Fondazione Compagnia di San Paolo, in the frame of ORA! Produzioni di Cultura Contemporanea
and with suppurt by Provincia Autonoma di Trento, Fondazione Caritro Cassa di Risparmio di Trento e Rovereto and of i-Portunus - Creative Europe Programme
h. 22.00 – cortile forgia e orti
Giorgia Ohanesian Nardin
Գիշեր | gisher
Giorgia Ohanesian Nardin_gisher courtesy the artist
Impostor Syndrome is ancestral heritage is intergenerational trauma.
Yesterday I had so much fire that I had to lie on the grass facing down with my palms on the ground. I wanted to stop feeling my body burning so much.
Have i become my coping mechanisms?
I self sabotage by having a lot of opinions on the love I receive. But I can never just receive love, who the fuck does that?
I am so tired.
I am so tired.
(I don’t know who I am without my tiredness.)
I wish I could write before my own criticism before this internalized hegemonic sense of worth.
Before the feeling that I haven’t thought of everything, haven’t considered all the possible potentially catastrophic things and wordings that could destroy everything.
Me.
Because it’s so confusing. Yes.
I was born on a monday.
Գիշեր | gisher is a video for a performance space. At the center of Գիշեր | gisher are images, that multiply and discompose the action of looking, asking the viewer to Orient. There are words, written and told and offered and translated and read out loud.
Գիշեր | gisher is the action of feeding, of keeping lit, of burning.
mpostor Syndrome is ancestral heritage is intergenerational trauma.
Yesterday I had so much fire that I had to lie on the grass facing down with my palms on the ground. I wanted to stop feeling my body burning so much.
Have i become my coping mechanisms?
I self sabotage by having a lot of opinions on the love I receive. But I can never just receive love, who the fuck does that?
I am so tired.
I am so tired.
(I don’t know who I am without my tiredness.)
I wish I could write before my own criticism before this internalized hegemonic sense of worth.
Before the feeling that I haven’t thought of everything, haven’t considered all the possible potential- ly catastrophic things and wordings that could destroy everything.
Me.
Because it’s so confusing. Yes. I was born on a monday.
Giorgia Ohanesian Nardin is an artist, independent researcher and queer agitator of Armenian de- scent.
Trained in dance, their work exists is the shape of movement/video/text/choreography/sound/ga- therings and deals with narratives of hostility, rest, friction, sensuality, healing.
Giorgia Ohanesian Nardin is an artist, independent researcher and queer agitator of Armenian descent.
Trained in dance, their work exists is the shape of movement/video/text/choreography/sound/gatherings and deals with narratives of hostility, rest, friction, sensuality, healing.
writing Giorgia Ohanesian Nardin
filming riprese F. De Isabella, Giorgia Ohanesian Nardin
sound and video composition F. De Isabella
video dramaturgy F. De Isabella, Giorgia Ohanesian Nardin
light environment Giulia Pastore
questions Kamee Abrahamian, Ilenia Caleo, Taguhi Torosyan
translation Giorgia Ohanesian Nardin, Taguhi Torosyan
notes on translation Clark Pignedoli
voices Kamee Abrahamian, Chiara Bersani, F. De Isabella, Simone Derai, Maddalena Fragnito, Jamila Johnson-Small, Ndack Mbaye, Giorgia Ohanesian Nardin, Raffaele Tori, Taguhi Torosyan
publication design Flo Low
production Giulia Messia
The video includes images of Ghost Theatre by Vahram Galstyan and Repentance.Variation on themes by Pinturicchio and Raphael (dedicated to Vasily Katanyan) by Sergei Parajanov.
Thank you Studio Azzurro, Luca Chiaudano, Yuri D., Valentina Stucchi
produced by Associazione Culturale VAN, Ministero per i Beni e le Attività Culturali, Regione Emilia-Romagna,
supported by Centrale Fies Art Work Space, AtelierSì Bologna, ICA Yerevan, Spazio Fattoria, DiD Studio
III WEEKEND
Venerdì/Friday 31.07
dalle/from 18.00 alle/to 24.00 / 20'
Chiara Bersani
Cordata
Chiara Bersani_white image
‘We may end up measuring the Earth with songs. Or, even further, we will start drawing borders of spices, urban areas of rhythms. We will draw from the vibes of a place to define its width. We will replace miles with memories, meters with ideas, hectares with harmony. (...) Only thus will we be studying more accurate maps, truly outlining a possible human reality.’ (S. Perotti, Atlante delle Isole del Mediterraneo).
I was saying that I am feeling dizzy. It’s world-sickness
I can't be alone another day
I can't go outside because there’s no room for my body outside now. Floating.
I just keep floating.
I love this this action/non-action.
This odd verb indicating ambiguous mobility, a measured move pattern.
Because if you stand still, your body will sink. But if you move decisively, here comes the swimming.
It’s nothing like vibrating or stretching. It’s almost like just listening.
Pontenure
06/06/2020
CORDATA (ROPED PARTY) is an elusive performance. It was conceived during the lockdown days at the beginning of 2020, and consists of an attempt to fulfill a desire - i.e., to observe a landscape together.
CORDATA (ROPED PARTY) is a performance created for and with Centrale Fies, in co-operation with Corpoceleste_C.C.00. It will take place during the days of festival reopening - when many bodies are allowed to re-appropriate public space, while others still have to move with caution.
CORDATA (ROPED PARTY) is a performance that can only exist thanks to the union of bodies different in form, rhythm, identity, place, and perception.
creation Chiara Bersani
roped leader Marco D’Agostin
sound F. de Isabella
research Marta Montanini
promotion and curating Giulia Traversi
organization and logistic Eleonora Cavallo
production Associazione Culturale Corpoceleste_C.C.00# , Centrale Fies (Dro), Residenze artistiche UFO – Teatro Stabile di Trieste.
h. 20.00 – orti / 45’
Alessandro Sciarroni
Turning_Orlando’s version
Alessandro Sciarroni_ Turning_Orlando's version © Salvatore Laurenzana
TURNING_Orlando's version is a new chapter of a larger project (TURNING) inspired by the migration flows of some animals that at the end of their life return to spawn and die in their natal territory, where the verb "turning" is translated and represented on stage in a literal sense, through the action of the body rotating around its axis: the action develops into an emotional psycho-physical journey, a dance of duration, in the same way in which “turning” also means to evolve, to change.
Orlando refers to a round cyclicity, to a circular transformation, as in Virginia Woolf's novel, it invites us to cross a mystery: does it evoke the name of a person or a place full of palm trees in Florida suspended in expectation of a cyclone?
invention Alessandro Sciarroni
with Maria Cargnelli, Francesco Saverio Cavaliere, Lucrezia Gabrieli, Sofia Magnani, Roberta Racis
music Aurora Bauzà e Pere Jou (Telemann Rec.)
assistant, training, choreographical and dramaturgical consultancy Elena Giannotti
styling Ettore Lombardi
casting Damien Modolo
technical director Valeria Foti
administration, executive production Chiara Fava
curator, promotion, consulting Lisa Gilardino
production MARCHE TEATRO Teatro di rilevante interesse culturale, corpoceleste_C.C.00##
coproduction Fondazione Matera-Basilicata 2019 e Basilicata 1799, CENTQUATRE-Paris, Snaporazverein
con il sostegno di L’arboreto – Teatro Dimora | La Corte Ospitale ::: Centro di Residenza EmiliaRomagna
The Turning_Orlando’s version project is realized with the contribution of ResiDance XL - places and residency projects for choreographic creations, action of Anticorpi XL Network - Giovane Danza D’autore, coordinated by L’ arboreto - Teatro Dimora di Mondaino
Jacopo Jenna
Alcune Coreografie
Jacopo Jenna_ courtesy the artist
The choreography is built through the mimesis of a large amount of video fragments tightly edited, digging across dance and performance history, passing through cinema and the internet, looking for a sensible kinetic matter.
The dancer embodies, transforms, connects and actualizes the body of the image, explores its dynamic, its freedom and linguistic immediacy without a privileged point of view, she eradicates it from the imaginary executing an exact and precise choreography. During the second part, an original video by artist Roberto Fassone offers a sequence of visual choreographies, a symbolic landscape where the human figure is absent but still looks for a relationship with the body on stage and ponders on that intangible matter which dance itself is made of.
concept, direction and videochoreography Jacopo Jenna
collaboration and dance Ramona Caia
collaboration and video Roberto Fassone
original music Francesco Casciaro
light design Mattia Bagnoli
costume design Eva di Franco
organization Luisa Zuffo
production KLm - Kinkaleri
co production Centrale Fies
with the support of Azienda Speciale Palaexpo - Mattatoio | Progetto PrendersiCura
Sabato/Saturday 01.08
dalle/from 18.00 alle/to 24.00 / 20'
Chiara Bersani
Cordata
Chiara Bersani_white image
‘We may end up measuring the Earth with songs. Or, even further, we will start drawing borders of spices, urban areas of rhythms. We will draw from the vibes of a place to define its width. We will replace miles with memories, meters with ideas, hectares with harmony. (...) Only thus will we be studying more accurate maps, truly outlining a possible human reality.’ (S. Perotti, Atlante delle Isole del Mediterraneo).
I was saying that I am feeling dizzy. It’s world-sickness
I can't be alone another day
I can't go outside because there’s no room for my body outside now. Floating.
I just keep floating.
I love this this action/non-action.
This odd verb indicating ambiguous mobility, a measured move pattern.
Because if you stand still, your body will sink. But if you move decisively, here comes the swimming.
It’s nothing like vibrating or stretching. It’s almost like just listening.
Pontenure
06/06/2020
CORDATA (ROPED PARTY) is an elusive performance. It was conceived during the lockdown days at the beginning of 2020, and consists of an attempt to fulfill a desire - i.e., to observe a landscape together.
CORDATA (ROPED PARTY) is a performance created for and with Centrale Fies, in co-operation with Corpoceleste_C.C.00. It will take place during the days of festival reopening - when many bodies are allowed to re-appropriate public space, while others still have to move with caution.
CORDATA (ROPED PARTY) is a performance that can only exist thanks to the union of bodies different in form, rhythm, identity, place, and perception.
creation Chiara Bersani
roped leader Marco D’Agostin
sound F. de Isabella
research Marta Montanini
promotion and curating Giulia Traversi
organization and logistic Eleonora Cavallo
production Associazione Culturale Corpoceleste_C.C.00# , Centrale Fies (Dro), Residenze artistiche UFO – Teatro Stabile di Trieste.
h. 20.00 – orti / 45’
Alessandro Sciarroni
Turning_Orlando’s version
Alessandro Sciarroni_ Turning_Orlando's version © Salvatore Laurenzana
TURNING_Orlando's version is a new chapter of a larger project (TURNING) inspired by the migration flows of some animals that at the end of their life return to spawn and die in their natal territory, where the verb "turning" is translated and represented on stage in a literal sense, through the action of the body rotating around its axis: the action develops into an emotional psycho-physical journey, a dance of duration, in the same way in which “turning” also means to evolve, to change.
Orlando refers to a round cyclicity, to a circular transformation, as in Virginia Woolf's novel, it invites us to cross a mystery: does it evoke the name of a person or a place full of palm trees in Florida suspended in expectation of a cyclone?
invention Alessandro Sciarroni
with Maria Cargnelli, Francesco Saverio Cavaliere, Lucrezia Gabrieli, Sofia Magnani, Roberta Racis
music Aurora Bauzà e Pere Jou (Telemann Rec.)
assistant, training, choreographical and dramaturgical consultancy Elena Giannotti
styling Ettore Lombardi
casting Damien Modolo
technical director Valeria Foti
administration, executive production Chiara Fava
curator, promotion, consulting Lisa Gilardino
production MARCHE TEATRO Teatro di rilevante interesse culturale, corpoceleste_C.C.00##
coproduction Fondazione Matera-Basilicata 2019 e Basilicata 1799, CENTQUATRE-Paris, Snaporazverein
con il sostegno di L’arboreto – Teatro Dimora | La Corte Ospitale ::: Centro di Residenza EmiliaRomagna
The Turning_Orlando’s version project is realized with the contribution of ResiDance XL - places and residency projects for choreographic creations, action of Anticorpi XL Network - Giovane Danza D’autore, coordinated by L’ arboreto - Teatro Dimora di Mondaino
h. 22.00 – cortile forgia / '45
Jacopo Jenna
Alcune Coreografie
Jacopo Jenna_ courtesy the artist
The choreography is built through the mimesis of a large amount of video fragments tightly edited, digging across dance and performance history, passing through cinema and the internet, looking for a sensible kinetic matter.
The dancer embodies, transforms, connects and actualizes the body of the image, explores its dynamic, its freedom and linguistic immediacy without a privileged point of view, she eradicates it from the imaginary executing an exact and precise choreography. During the second part, an original video by artist Roberto Fassone offers a sequence of visual choreographies, a symbolic landscape where the human figure is absent but still looks for a relationship with the body on stage and ponders on that intangible matter which dance itself is made of.
concept, direction and videochoreography Jacopo Jenna
collaboration and dance Ramona Caia
collaboration and video Roberto Fassone
original music Francesco Casciaro
light design Mattia Bagnoli
costume design Eva di Franco
organization Luisa Zuffo
production KLm - Kinkaleri
co production Centrale Fies
with the support of Azienda Speciale Palaexpo - Mattatoio | Progetto PrendersiCura
IV WEEKEND
Venerdì/Friday 07.08
Chiara Bersani
Cordata Longa
Ph_Giulia Traversi
CORDATA LONGA
Work by Chiara Bersani – Italian artist and activist with disability, implemented for and with Centrale Fies Art Work Space.
We would like to invite you, to fix an impossible, intimate and collective appointment.
We would like to contemplate the landscape together.
It would be beautiful if, on the same day, at different times and breaths, a series of gazes followed the sun while it disappears, from country to country, until when the sunset, the sunrise, the night and the day mingle.
If you will like, we will stay together everywhere, on the 9th of August. Inn all the seas, the forests, the islands, the oceans of our planet.
7 - 8 August
LIVE and ONLIFE
Training for in the base camp of Centrale Fies - Le Terme - Loc. Fies 1, 38074 Dro (TN) – Italy
ONLINE
Online training on the website fies-stargate.net/cordata-longa
During these days a tutorial will be unveiled to the public in which the team leader Marco D’Agostin will provide the necessary information to participate in the Cordata Longa, on the 9th August.
9 August – ONLINE EVENT
Cordata Longa – series of sunsets
ONLINE from 7.30 pm Italian time, for 24 hours
Everyone can take part in this event, wherever you are.
To participate in this experience you will need to:
• Carefully visualize the tutorial of Marco D’Agostin,
• Have a mobile phone with internet access and headphones for an all-embracing listening experience.
CORDATA LONGA was made in cooperation with
Marco D’Agostin Team Leader
F. De Isabella Sound
Marta Montanini Research and translation
Giulia Traversi Promotion and curation
Eleonora Cavallo Organization, logistics and graphic project
Production Centrale Fies, Associazione culturale corpoceleste_C.C.00#
With the support of UFO – residenze d’arte non identificate – Contrada Teatro – Stabile di Trieste.
h. 20.00 – orti / 30'
CollettivO CineticO & Alessandro Sciarroni
Dialogo Terzo: In a landscape
CollettivO CineticO_courtesy the artist
“I think the work should be called In a landscape: I would like to steal this title from the homonym piece by John Cage composed in 1948 "to sober and quiet the mind, thus rendering it susceptible to divine influences".
For now, with CollettivO CineticO, we are training a new practice. As in other works of mine, there is always something light and mysterious in the obstinacy of repetition, something that seems to have an opposite energy compared to patience, fatigue, and to the obduracy of the action carried out. But this time I seem to be able to see more. They seem to me figures tending towards what seems to resemble a feeling of serene determination inclined to disappear: a voluntary extinction of the subject. An act of extreme love. The choice of a definitive departure. But I admit that my gaze is not objective. "
Alessandro Sciarroni 14/02/2020 - Fiumicino Airport / Rome
coreography and direction Alessandro Sciarroni
action and creation Simone Arganini, Margherita Elliot, Carmine Parise, Angelo Pedroni, Francesca Pennini, Stefano Sardi
music John Cage
costumes Ettore Lombardi
coproduction CollettivO CineticO, Aperto Festival - Fondazione I Teatri di Reggio Emilia, Teatro Comunale di Ferrara, Operaestate Festival Veneto/CSC, Marche Teatro
with a support by MIBACT, Regione Emilia Romagna
artistic residency Centrale Fies art work space
Marco D’Agostin
Dear N
Marco D’Agostin_01 foto credits Francesco Presepi
DEAR N. is a speech-performance conceived for the XL edition of the Festival, and tries to answer some central questions: to which community of spectators are we addressing now? How do we organize the experience of a live event within the actual proximity constraints? Which other devices of call in action can we activate?
DEAR N. generates from an impossibility, the one of completing and presenting to an audience the performance BEST REGARDS (a show that should have premiere in March 2020), and on this fracture tries to arrange - for a future flowering - not just the research material that would have never found its place within the show, but also all the scenic-performative objects able to survive, adapting to the new surrounding environment and violently calling the audience for action.
At the beginning of DEAR N. I put what would have been the closure act of BEST REGARDS: a letter handwritten by Chiara Bersani and sent to Centrale Fies, that in the original piece would coagulate some central topics. The show was conceived as a letter delivered too late to Nigel Charnock and invited to think about the potential of an empty space left by someone who was important for us and is not there anymore: in my case my master, for the audience anyone they want to evoke for themselves. The letter that Chiara Bersani sends, whose structure was built with the collaboration of poet Azzurra D’Agostino, introduces a reflection on the specific temporality of letters: there’s always a disconnection, a delay between the moment of writing and the one of reading, a “fatal” time lapse that always takes into account the possibility of a break, a death. This specific stratification of time, together with the “risk” of loss of every postal itinerary, charge letters with a high dose of destiny: to the letter we give custody of our depths exactly because of its character so close to a threat.
After this first performative gesture, DEAR N. becomes a talk in which, through incredible epistolaries from 19th and 20th centuries together with letters produced by contemporary students (see following paragraph), we’ll talk about writing modalities that letters teach us, surprising episodes related to their life and some incredible features. Almost invisibly, a question will palpitate under the words, continuously addressed to the audience: who would you write a letter to, now? Which letter didn’t you find the time to deliver?
In the final section I will test for the first time a device of call in action that was already expected for the original performance BEST REGARDS. I will announce the first public performance of DEAR N., a song I wrote during the quarantene together with musician LSKA, building the lyrics around an insistent chorus:
You died so I could live and dance, live and dance
You are the dark, I see the stars
I’m here so I can live and dance, live and dance
And I hope this is no harm to you, dear N.,
I hope this is no harm to you
In the frame of a pop song the chorus evokes some fundamental aspects of the work. First of all the space created by the death of someone - a space not only for loss and absence, but inviting also for a new action. Annie Ernaux echoes, especially in the book The other daughter, a letter she wrote for a sister she’s never met because of her premature death, when she writes: “you died so I could live and write”.
The performance here turns violently towards the form of a concert, but just for one song. The final part of the song reveals to be a very long sound parenthesis in which the first two lines of the chorus are repeated many times, inviting the audience not just to learn them but also to consider all of their meanings, one level after the other, one repetition after the other. With a sober and ambiguous gesture, I will deliver the chorus to the audience; the lyrics will be projected, with a romantic but decadent karaoke, on the led curtain behind my back.
I will abandon the space, leaving one unclear question in the air: can I sing now? Can I belong to these lyrics, fulfill them with my story? Or do I live in this empty space, this failed choir?
The musician LSKA, while lyrics will go on on their own rhythm allowing the audience to get into the singing or leaving it at any time, will work on the sounds in order to slowly and progressively rarefy the atmosphere; at that moment spectators will be free to leave or to stay until the end of the exhaustion of the music.
WRITING LETTERS IS ALWAYS DANGEROUS - workshop of M. D’Agostin and Azzurra D’Agostino for a classroom of students of the Liceo Rosmini High School in Trento
The workshop Writing letters is always dangerous takes its name from a sentence that poet Elizabeth Bishop wrote to his friend and colleague Robert Lowell, in one of the most memorable epistolary from the 20th century. “Full of threats” - she would add to it.
The workshop is first of all an act of compensation for a gesture of generosity that the students paid in 2019 when, at the beginning of the process for BEST REGARDS, they sent to Centrale Fies a box full of letters with advices and confessions for the research of the piece.
With the collaboration of poet and expert in creative writing Azzurra D’Agostin, the workshop aims to encourage distant practices of thinking and writing together, all around the art of writing letters.
Participants will be invited in a Whatsapp group and receive every day instructions for short warm ups and writing exercises. We’ll consider the letter as a topical place for writing, we’ll study its specific features, we’ll make it the ideal container for a materialization of personal desires of communication. The workshop will produce a corpus of sharp but anonymous letters, whose final destination will be Centrale Fies.
Sabato/Saturday 08.08
Chiara Bersani
Cordata Longa
Ph_Giulia Traversi
CORDATA LONGA
Work by Chiara Bersani – Italian artist and activist with disability, implemented for and with Centrale Fies Art Work Space.
We would like to invite you, to fix an impossible, intimate and collective appointment.
We would like to contemplate the landscape together.
It would be beautiful if, on the same day, at different times and breaths, a series of gazes followed the sun while it disappears, from country to country, until when the sunset, the sunrise, the night and the day mingle.
If you will like, we will stay together everywhere, on the 9th of August. Inn all the seas, the forests, the islands, the oceans of our planet.
7 - 8 August
LIVE and ONLIFE
Training for in the base camp of Centrale Fies - Le Terme - Loc. Fies 1, 38074 Dro (TN) – Italy
ONLINE
Online training on the website fies-stargate.net/cordata-longa
During these days a tutorial will be unveiled to the public in which the team leader Marco D’Agostin will provide the necessary information to participate in the Cordata Longa, on the 9th August.
9 August – ONLINE EVENT
Cordata Longa – series of sunsets
ONLINE from 7.30 pm Italian time, for 24 hours
Everyone can take part in this event, wherever you are.
To participate in this experience you will need to:
• Carefully visualize the tutorial of Marco D’Agostin,
• Have a mobile phone with internet access and headphones for an all-embracing listening experience.
CORDATA LONGA was made in cooperation with
Marco D’Agostin Team Leader
F. De Isabella Sound
Marta Montanini Research and translation
Giulia Traversi Promotion and curation
Eleonora Cavallo Organization, logistics and graphic project
Production Centrale Fies, Associazione culturale corpoceleste_C.C.00#
With the support of UFO – residenze d’arte non identificate – Contrada Teatro – Stabile di Trieste .
dalle/from 18.30 alle/to 21.30 – spazio Tonus
Sotterraneo
EUROPEANA NON-STOP
durational performance
Europeana by Sotterraneo_artwork Lorenzo Guagni
A human being will be reading the entire history of 20th-century Europe for future - post-human or alien - civilizations. This reading will be accompanied by 100 random pieces of music - one for each year of the 20th century. A software will help translate the text live into binary code, a hypothetically universal language. The audio and its translation are recorded onto a device that will be stored in a time capsule on the performance venue. Simultaneously, photons will be sent beyond the stratosphere through a laser pointer, reacting to the sound waves of the narrator's voice. The laser pointer will thus signal our position, and this unhindered signal will travel through the stratosphere all the way to the borders of the Universe. Were it to be used to locate uz, we believe Europeana: A Brief history of the 20th century is the most suitable book to narrate the century we were born and grew up in.
concept Sotterraneo
text Europeana - A short story of the 20th century ”Copyright © 2001 Patrik Ouředník
translation Andrea Libero Carbone / Ed. Quodlibet (ENG)
on stage Fabio Mascagni
light Marco Santambrogio
sound design Luca Scapellato / LSKA
production Sotterraneo
support Centrale Fies
Sotterraneo is part of the Fies Factory project, of the European Shift Key Network and is a resident of the Pistoia Theater Association
Dialogo Terzo: In a landscape
CollettivO CineticO_courtesy the artist
“I think the work should be called In a landscape: I would like to steal this title from the homonym piece by John Cage composed in 1948 "to sober and quiet the mind, thus rendering it susceptible to divine influences".
For now, with CollettivO CineticO, we are training a new practice. As in other works of mine, there is always something light and mysterious in the obstinacy of repetition, something that seems to have an opposite energy compared to patience, fatigue, and to the obduracy of the action carried out. But this time I seem to be able to see more. They seem to me figures tending towards what seems to resemble a feeling of serene determination inclined to disappear: a voluntary extinction of the subject. An act of extreme love. The choice of a definitive departure. But I admit that my gaze is not objective. "
Alessandro Sciarroni 14/02/2020 - Fiumicino Airport / Rome
coreography and direction Alessandro Sciarroni
action and creation Simone Arganini, Margherita Elliot, Carmine Parise, Angelo Pedroni, Francesca Pennini, Stefano Sardi
music John Cage
costumes Ettore Lombardi
coproduction CollettivO CineticO, Aperto Festival - Fondazione I Teatri di Reggio Emilia, Teatro Comunale di Ferrara, Operaestate Festival Veneto/CSC, Marche Teatro
with a support by MIBACT, Regione Emilia Romagna
artistic residency Centrale Fies art work space
h. 22.00 – cortile forgia
Marco D’Agostin
Dear N
Marco D’Agostin_01 foto credits Francesco Presepi
DEAR N. is a speech-performance conceived for the XL edition of the Festival, and tries to answer some central questions: to which community of spectators are we addressing now? How do we organize the experience of a live event within the actual proximity constraints? Which other devices of call in action can we activate?
DEAR N. generates from an impossibility, the one of completing and presenting to an audience the performance BEST REGARDS (a show that should have premiere in March 2020), and on this fracture tries to arrange - for a future flowering - not just the research material that would have never found its place within the show, but also all the scenic-performative objects able to survive, adapting to the new surrounding environment and violently calling the audience for action.
At the beginning of DEAR N. I put what would have been the closure act of BEST REGARDS: a letter handwritten by Chiara Bersani and sent to Centrale Fies, that in the original piece would coagulate some central topics. The show was conceived as a letter delivered too late to Nigel Charnock and invited to think about the potential of an empty space left by someone who was important for us and is not there anymore: in my case my master, for the audience anyone they want to evoke for themselves. The letter that Chiara Bersani sends, whose structure was built with the collaboration of poet Azzurra D’Agostino, introduces a reflection on the specific temporality of letters: there’s always a disconnection, a delay between the moment of writing and the one of reading, a “fatal” time lapse that always takes into account the possibility of a break, a death. This specific stratification of time, together with the “risk” of loss of every postal itinerary, charge letters with a high dose of destiny: to the letter we give custody of our depths exactly because of its character so close to a threat.
After this first performative gesture, DEAR N. becomes a talk in which, through incredible epistolaries from 19th and 20th centuries together with letters produced by contemporary students (see following paragraph), we’ll talk about writing modalities that letters teach us, surprising episodes related to their life and some incredible features. Almost invisibly, a question will palpitate under the words, continuously addressed to the audience: who would you write a letter to, now? Which letter didn’t you find the time to deliver?
In the final section I will test for the first time a device of call in action that was already expected for the original performance BEST REGARDS. I will announce the first public performance of DEAR N., a song I wrote during the quarantene together with musician LSKA, building the lyrics around an insistent chorus:
You died so I could live and dance, live and dance
You are the dark, I see the stars
I’m here so I can live and dance, live and dance
And I hope this is no harm to you, dear N.,
I hope this is no harm to you
In the frame of a pop song the chorus evokes some fundamental aspects of the work. First of all the space created by the death of someone - a space not only for loss and absence, but inviting also for a new action. Annie Ernaux echoes, especially in the book The other daughter, a letter she wrote for a sister she’s never met because of her premature death, when she writes: “you died so I could live and write”.
The performance here turns violently towards the form of a concert, but just for one song. The final part of the song reveals to be a very long sound parenthesis in which the first two lines of the chorus are repeated many times, inviting the audience not just to learn them but also to consider all of their meanings, one level after the other, one repetition after the other. With a sober and ambiguous gesture, I will deliver the chorus to the audience; the lyrics will be projected, with a romantic but decadent karaoke, on the led curtain behind my back.
I will abandon the space, leaving one unclear question in the air: can I sing now? Can I belong to these lyrics, fulfill them with my story? Or do I live in this empty space, this failed choir?
The musician LSKA, while lyrics will go on on their own rhythm allowing the audience to get into the singing or leaving it at any time, will work on the sounds in order to slowly and progressively rarefy the atmosphere; at that moment spectators will be free to leave or to stay until the end of the exhaustion of the music.
WRITING LETTERS IS ALWAYS DANGEROUS - workshop of M. D’Agostin and Azzurra D’Agostino for a classroom of students of the Liceo Rosmini High School in Trento
The workshop Writing letters is always dangerous takes its name from a sentence that poet Elizabeth Bishop wrote to his friend and colleague Robert Lowell, in one of the most memorable epistolary from the 20th century. “Full of threats” - she would add to it.
The workshop is first of all an act of compensation for a gesture of generosity that the students paid in 2019 when, at the beginning of the process for BEST REGARDS, they sent to Centrale Fies a box full of letters with advices and confessions for the research of the piece.
With the collaboration of poet and expert in creative writing Azzurra D’Agostin, the workshop aims to encourage distant practices of thinking and writing together, all around the art of writing letters.
Participants will be invited in a Whatsapp group and receive every day instructions for short warm ups and writing exercises. We’ll consider the letter as a topical place for writing, we’ll study its specific features, we’ll make it the ideal container for a materialization of personal desires of communication. The workshop will produce a corpus of sharp but anonymous letters, whose final destination will be Centrale Fies.
Domenica/Sunday 09.08 (Online event)
Chiara Bersani
Cordata Longa – series of sunsets
Ph_Giulia Traversi
CORDATA LONGA
Work by Chiara Bersani – Italian artist and activist with disability, implemented for and with Centrale Fies Art Work Space
Cordata Longa – series of sunsets
ONLINE from 7.30 pm Italian time, for 24 hours
Everyone can take part in this event, wherever you are.
To participate in this experience you will need to:
• Carefully visualize the tutorial of Marco D’Agostin,
• Have a mobile phone with internet access and headphones for an all-embracing listening experience.
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Website
CORDATA LONGA was made in cooperation with:
Marco D’Agostin Team Leader
F. De Isabella Sound
Marta Montanini Research and translation
Giulia Traversi Promotion and curation
Eleonora Cavallo Organization, logistics and graphic project
Production Centrale Fies, Associazione culturale corpoceleste_C.C.00#
With the support of UFO – residenze d’arte non identificate – Contrada Teatro – Stabile di Trieste .
