Per artistə

last stage 2024 – On the fruitfulness of space
from an idea by Doriana Crema
author lights Gianni Staropoli

Two authors, Doriana Crema – associate artist – and Gianni Staropoli, meet to look at the movement that, in space, intersects light, body, sound, emptiness, silence.
No element has a main role, nothing tries to carry a full meaning, except that which the gaze of the beholder grasps.
The space – which is not empty – can be experienced as a living place to be part of, where being attentive, observing, letting oneself go a little nourishes and makes fruitful the possibility of opening a breach in another space, less visible, more intimate, deeper, perhaps an emptiness or ‘tabula rasa’ from which new questions, new visions can be raised.

by Alberto Barberis
curated by ASSOCIAZIONE COORPI

Second stage of development of the new transmedia production project HYBRIDY, winner of the 2023 edition of the “For Those Who Create” program, promoted by MiC and managed by SIAE.

HYBRIDY is an interactive audio-video multimedia installation that aims to explore the symbiotic relationships-harmonic and conflicting-between body and machine, digital and analog, nature and technique. The installation consists of a large circular video-dance projection algorithmically processed and synchronized with original electronic music played through headphones with binaural spatialization and tactile feedback for spreading vibrations on the listener’s body. A multimedia and multisensory immersive artistic experience that seeks the hybridization of human elements with extra-human elements, bringing into play a mechanism of reciprocal relationships typical of complex systems, such as the natural-artificial one in which we live.

In this process, the body becomes the element capable of enabling the symbiosis to which the work tends, and which draws inspiration from the mythological figures of the dryads, half-women and half-plants.

Like the dryads, who expand their bodily forms with fronds and roots becoming one with nature, in HYBRIDY the body controls digital processing algorithms inspired by the nature of fungi thus creating its own transfiguration and at the same time generating and directing the sounds of this fusion. The work’s suggested hybridity thus becomes a pattern of digital content hybridized with the body and nature “within which an individual can […] reconcile with complexity […], a primitive, poetic artistic fecundity that welcomes its transformation and constantly trains it to separate itself from unidirectional patterns, conceptions and existences” (Una spirale di ibridazioni. Dal naturale al tecnologico’, S. Milano).

Open to the public: Sept. 11, 4:30-7:30 p.m.
Means of fruition: 1 person every 10 minutes, limited seats, reservation required.
For info and reservations send an email to info.coorpi@gmail.com

The project is realized with the support of MiC and SIAE, as part of the “Per Chi Crea” program and with contributions from the Piedmont Region and Fondazione CRT.

Choreography Ginevra Panzetti and Enrico Ticconi 
Dancers Martina Tomić, Ida Jolić/Ema Crnić, Viktoria Bubalo, Marta Krešić, Filipa Bavčević, Nastasja Štefanić-Kralj 
Costumes Tina Spahija 
Music Hrvoje Nikšić 
Light Tomislav Maglečić 
Producer Ivan Mrdjen 
Produced by Studio za suvremeni ples (SSP) – Studio Contemporary Dance Company 
Supported by Republic of Croatia Ministry of Culture and Media, City of Zagreb, Zaklada Kultura nova, Instituto Italiano di Cultura di Zagabria. Supported by Lavanderia a Vapore/ Fondazione Piemonte dal Vivo, as part of the choreographic residency project Lavanderia a Vapore, Collegno (TO) 
Coproduced in collaboration with the Pan – Adria network (ArtistiAssociati – Centro di Produzione teatrale, Gorizia; Zavod En–Knap, Ljubljana; Hrvatski kulturni dom na Sušaku, Rijeka; Zavod Flota, Murska Sobota via Ljubljana; Zagrebački plesni centar, Zagreb; Slovensko narodno gledališče Nova Gorica, Nova Gorica; Mediteranski plesni centar Svetvinčenat, Svetvinčenat) 
Thanks Zadarski Plesni Ansambl  

The word alarm finds its origin in the Italian expression “all’arme!”, meaning “to arms!” or “to the weapons!” – a cry of warning historically used to incite readiness and defence in the face of imminent danger, such as an attack or invasion. “Arme” is the archaic form of “armi,” referring to instruments of defence or offence.
This etymology reveals that the concept of alarm is deeply intertwined with the act of preparing for battle, being ever vigilant and ready to defend oneself or respond to a threat. Over time, however, the meaning of “alarm” has evolved beyond its martial roots to encompass warnings of danger in a broader sense, extending to various situations of emergency.
Yet, as alarm prompts defence, it also raises questions: When does defence become aggression? How can we balance the need for protection with the risk of becoming a threat ourselves? 

In this choreographic work for six dancers, Panzetti / Ticconi embark on a journey that begins with the rhythmic potential of the human step, exploring the persuasive power of synchronised and collective movement. Drawing inspiration from the military choreographic vocabulary, they delve into the tension between individual agency and collective force, questioning the fine line between necessary defence and the possibility of becoming what we fear. 

Public opening on Friday 13 September at 17:30
Reservations: estdahl@lavanderiaavapore.eu

choreography, performance, costumes Ginevra Panzetti / Enrico Ticconi
sound composition Teho Teardo
video Sergio Salomone
graphic illustration Ginevra Panzetti
originally created as part of Esplorazioni – a project of Triennale Milano
in collaboration with Volvo Car Italia
with the support of Lavanderia a Vapore / Piemonte dal Vivo

CRY VIOLET was born as a performative intervention created on the sound composition proposed by musician Teho Teardo. Using a gestural code that portrays expressions of pain and shame inspired by the iconography of original sin, the human expedient of atoning for one’s guilt through practices that attempt to make up for environmental damage or, in some other way, to conceal it, is highlighted.
Widespread phenomena such as greenwashing indeed represent deceptive practices that elude a real solution to the damage that human action has caused to the environment. Actions, such as cleaning, merge with crying. In this context, a common object such as a cloth or a handkerchief transforms its function from a cleaning tool to an element that accommodates pain, absorbs tears. Recalling Lady Macbeth’s repeated and fallacious gesture in the perpetual attempt to erase the sign of guilt from her hands, the two figures trace the expiatory mechanics of cleaning and concealing. It is in this limbo between a real or façade attempt to make up for the damage caused that Cry Violet takes shape, in a shifting complicity between the aestheticisation of guilt and the act of resolving or concealing it, to the point of transforming itself into captivating, winking, advertising material.
The image of the extinct flower known as Cry Violet forms the backdrop to the action through the video realised by Sergio Salomone, manifesting itself as the vortex of a drama as catastrophic as it is regenerative.
The work was first presented in November 2023 in Milan as part of the Esplorazioni project, in collaboration with Triennale Milano and Volvo Studio Milano.

Ph. Davide Ambroggio

A project by Doriana Crema 

In this new stage of the Tabula Rasa residency, the dialogue between Doriana Crema, associate artists, and Gianni Staropoli continues. The focus will be on the body/light relationship.

What happens when a light enters space and a body receives it or passes through it? What happens when the body enters the space and chooses to enter the light? How do these two actions modify space and evoke images and memories?

The two subjects light and body in the alternation of being – one the main actor and the other the servant – are caught by the space as it proceeds its path as a container. At this stage, the audience remains in its space as observer and will be caught by the light that at different times will surprise the bodies in their being. Doriana Crema and Gianni Staropoli will move in the space, acting the light on sight or interrupting its lines with the presence of their bodies.

The question is about evoking without narrating, simply by moving through space, what images, what memories, in the here and now are.

by Elisa Giuliano
in collaboration with Almanac Inn

For the 2024 exhibition programme, the Turin-based non-profit space Almanac Inn invited curator and playwright Elisa Giuliano to create an exhibition to reflect on the role of images, documents and artefacts in the creation of social worlds. Starting from research work carried out in collaboration with the Museum of Anthropology and Ethnography of the University of Turin, the Associazione Figli della Miniera di Macugnaga, and the Gruppo Spontaneo di Magliano Alfieri, Elisa Giuliano will develop an exhibition and a performance oriented towards the analysis of borders in the Piedmontese territory: the border between cultures, the border between sacred and profane, the border between rationality and irrationality.
During her residency period at the Lavanderia a Vapore, Elisa will work with artist Gianfranco Colla on the realisation of a play inspired by Il mondo in rivista (1926) by Mario Bertola, one of the works from the psychiatric hospital in Collegno conserved in the Art Brut collection of the Museum of Anthropology and Ethnography of the University of Turin. The show will be presented at the Almanac Inn in June 2024.

Elisa Giuliano is a curator, researcher and theatre director. She currently lectures at the MA Curatorial Studies at ZHdK Zurich. In 2022 she co-curated with Anselm Franke, Denise Ryner, Claire Tancons and Zairong Xiang the exhibition Ceremony (Burial of an Undead World) at the Haus der Kulturen der Welt (HKW) in Berlin. In 2020, she was a fellow at Ocean Space – TBA-21 Academy in Venice and in 2018 at Het Nieuwe Instituut in Rotterdam. In 2019, Giuliano was part of the artistic team of the exhibition projects I-DEA and Blind Sensorium at Matera European Capital of Culture 2019. Her writings have appeared in publications such as NERO, Dirty Furniture, MUdec United and Arts of the Working Class.

Research Salvo Lombardo
Organisation Chiasma

The iceberg is an iridescent mass, solid and vulnerable at the same time; structurally compact but fluid. The iceberg is also the unravelling of a prejudicial deception: that is, it lends itself to recognisable emergencies in that display of its emerged part, of its expendable peaks; however, it is usually more its ‘deep’ nature that substantially characterises its bulk and power; this mass – beyond the visible – is an intricate relational warp. 
Through a series of long recurring residencies over the course of 2024, Salvo Lombardo, associate artist of Lavanderia a Vapore, starts from the figure of the iceberg to articulate a discourse on the dramaturgy of dance and, in general, on the prototyping of an institutional dramaturgy. How can an artist and a space build a network of visible and invisible interweavings, reciprocally crossing discourses, words, practices that inhabit the Lavanderia in order to affect the vision and future design trajectories of a possible institution?

A project by Elisabetta Consonni

Graduated in Communication with a final thesis on the social construction of the body in dance and graduated at The Place-London, Elisabetta Consonni deepened her research in performing art living in Holland (2004-2009) and Poland (2013-2015). Her works for conventional spaces aim to expand the practice of choreography seeking for performative devices to incorporate a social discourse. Her activism in the social and civic sphere takes the artistic form of a research process that since 2013 investigates the use and social meaning of public space and the declination of choreographic skills in working with marginalised groups. Her work searches for the continuous interlacing between practice and production of knowledge through it.

ON MOBILISATION focuses on community mobilisation through artistic processes. This bottom-up project co-funded by the European Union, takes an active role in an international solidarity and emancipatory movement. It aims to bring together and to engage individuals for favouring forms of social justice and equality. In order to effectively address the concept of micro-community mobilisation the project embraces local specificities of the four partner organisations: wpZimmer, Baltic Art Center, Studio ALTA and Lavanderia a Vapore. They are mobilised by adopting radical forms of cultural participation facilitated by six international artists: Kalle Brolin, Elisabetta Consonni, Daniele Ninarello, Ahilan Ratnamohan, Marika Smreková and Danae Theodoridou.

A collective research project between practices, theories and artistic paths promoted by Lavanderia a Vapore with Festival Orlando, Invisible Cities, Zona K and Periferico Festival.

Interspace is a collective research path articulated as a nomadic laboratory, promoted by an informal network of partners that investigates art as public space and artistic languages as places capable of generating a convergence of multitudes.

The research path involves curators from the promoting organisations and 3 artists selected through an open call who will go through 5 stages during 2024: 3 ateliers and two residencies. Tea Andreoletti, Giovanna Rovedo and Simona Da Pozzo are the artists selected for the 2024 edition.

Concept and direction Silvia Rampelli
Dance Alessandra Cristiani, Eleonora Chiocchini, Valerio Sirna, Stefania Tansini
Production Tir Danza 2024/25
Production support Lavanderia a Vapore, Armunia/Festival Inequilibrio

Central to Habillé d’eau‘s investigation is the investigation of the perceptive dimension that the scene realises through the tension of the concrete conditions of experience, the cognitive passage from sensation to perception, from the given to the representation of the given, in the field of the phenomenon.

In continuity with this projectual framework, the residency constitutes the first research nucleus for a short action, conceived as a single episode for Buffalo 2024 and for a new creation for four figures, which in the mode of action, time, space and theatrical light identifies the possible vehicle for a critical movement of the fruition set-up aimed at questioning the relationship with reality.

Silvia Rampelli has a degree in Philosophy and teaches a Master in Artiterapies at the University “La Sapienza” in Rome; she focuses her reflection on the nature of the act. Active in the performing arts scene and in theoretical and educational fields, she has been produced by La Biennale di Venezia and invited to major festivals.

A project by Fondazione Piemonte dal Vivo/Lavanderia a Vapore, Bolzano Danza / Fondazione Haydn di Bolzano e Trento, CSC Bassano del Grappa, Gender Bender, Triennale di Milano, Teatro Stabile dell’Umbria

Artists engaged by Lavanderia a Vapore: Quim Bigas Bassart; Viola Scaglione/Balletto Teatro di Torino; Elena Rolla/Compagnia EgriBiancoDanza; Daniele Ninarello/CodedUomo; Amina Amici/Compagnia Zerogrammi

Dance Schools: Ad’a Dance Studio, Apid Piemonte, Associazione Eclectica, Asd + Sport 8, Centro Ricerca Danza, Fondazione Egri per la Danza (Alta Formazione Egri Danza), Ginger Company asd, Mamadance, Scuola del Balletto Teatro di Torino, Dance Well Lavanderia a Vapore

Los Faunos is a new project developed with the choreographer Quim Bigas Bassart, four Piedmont dance companies and a network of national partners engaging ten local dance schools and communities around Lavanderia a Vapore.
From January to April, the project will unpack as an incubator for emerging talents that will benefit from the encounters with the leading artists in an open, dynamic, and informal net where to cultivate and express participants’ creative potential.
During these months, leading artists and participants will revisit the figure of the Faun, its queerness and intersectionality, adopting the repertoire as a creative ground to revisit the code and reflect on the present.
The international guest and the local companies will develop creative tasks and choreographic scores that can activate in dance schools, teachers and participants, a compositional and expressive ability that goes beyond disciplinary teachings.

Ph. Andrea Macchia

Research Salvo Lombardo
Organisation Chiasma

The iceberg is an iridescent mass, solid and vulnerable at the same time; structurally compact but fluid. The iceberg is also the unravelling of a prejudicial deception: that is, it lends itself to recognisable emergencies in that display of its emerged part, of its expendable peaks; however, it is usually more its ‘deep’ nature that substantially characterises its bulk and power; this mass – beyond the visible – is an intricate relational warp. 
Through a series of long recurring residencies over the course of 2024, Salvo Lombardo, associate artist of Lavanderia a Vapore, starts from the figure of the iceberg to articulate a discourse on the dramaturgy of dance and, in general, on the prototyping of an institutional dramaturgy. How can an artist and a space build a network of visible and invisible interweavings, reciprocally crossing discourses, words, practices that inhabit the Lavanderia in order to affect the vision and future design trajectories of a possible institution?