Per artistə

Part of the Étape Danse project
project coordinated by Mosaico Danzain collaboration with Lavanderia a Vapore

Performance Mackenzy Bergile
Concept, choreography, music, poetry, and dramaturgy Mackenzy Bergile
Artistic collaboration Inès Mauricio
Lighting design Eduardo Abdala
Costumes Mackenzy Bergile and Janette Laakso
Production and distribution:Association Être et Faire et Être, Léa Simon Thomas

This new creation marks the opening chapter of Autotherapie, a choreographic and literary work scheduled for 2025. In Identity is a rumor, until death writes it down, the self-portrait moves beyond a space of broad exploration to become a site of voices and a testing ground for identity. The artist treats the self-portrait as an unstable, never entirely secure location—a space where the “Self” is not a given, but is traversed by political legacies, historical narratives, and learned desires—some imposed, others adopted for the sake of survival.

Mackenzy Bergile is a self-taught multidisciplinary artist born in Paris and based in Lorient. His rich, eclectic artistic journey combines dance, music, and poetry, deeply influenced by his Haitian and French roots. He explores the interplay between the personal and the political, breaking free from traditional academic frameworks to develop a unique physical language. His music – centered on the piano – blends Baroque influences with Voodoo resonances, creating pieces that evoke history and the unseen. He has collaborated with prominent figures in contemporary dance, such as Emmanuel Eggermont and Boris Charmatz, and has composed music for films and dance companies.

Concept and form by Silvia Mai
curated by Anna Paola Bacalov
action by Silvia Mai and Eco, Chiara Marolla, and Molpè
video image by Ivan Gasbarrini
winning project of the 2024 Tuttoteatro.com “Dante Cappelletti” Award
co-production by Tuttoteatro.com
executive production by Tecnologia Filosofica (Turin)
with the support of IntercettAzioni – Lombardy Artistic Residency Center / Theater, delle Moire (Milan), and ORA-Orobie Artistic Residencies (Piateda-Sondrio), Lavanderia a Vapore (Collegno-Turin), BTT Balletto Teatro di Torino, Dello Scompiglio Cultural Association (Capannori-Lucca), Bianco Teatro/Ti con Zero (Bracciano-Rome)
thanks to Fernanda Pessolano, Enrico Fabris

Eco, from the Greek Oikos “the house”, is a dog. In the relationship between two beings who make a home for each other, work finds its origin, its foundation. The boundary between what is properly human and what is not, between those who care and those who are cared for, between those who look and those who are looked at, is revealed to be fragile and labile. In this border, which questions and breaks down every form and formality – and in the intimacy of the skin – lies the principle of every possible encounter. How much is it possible to bring to light what happens in the shadows as a secret? Can the “home” be revealed to another glance, without the risk of getting lost or hiding? What can come to us beyond the fall, from this inevitable exposure? What words are needed to get closer to the heart? What is the path to follow or trace? Nourished by these questions, the work moves between the skin and an inexorable distance, physical and soul.

Silvia Mai is a dancer, mountain shepherd, art therapist in training. His studies in the artistic field were marked by his encounters with Raffaella Giordano, Silvia Rampelli, Dominique Dupuy, Claudia Dias, Anna Paola Bacalov. A fter a few years of artistic silence, during which he learned and practiced the life of a shepherd, he resumed his artistic research in the field of movement and the plastic arts. In autumn 2021 he is a guest of Laterale for Danae Festival with Prospettive Animali, designed together with the dogs Gringo and Eco. In September 2023 he began training in Anthroposophical Art Therapy at the European Cinabro in Milan and in 2025 he enrolled in the two-year master’s course in Painting at the Albertina Academy in Turin. She is currently involved in the creation of SONO, a performance work composed of four chapters in collaboration with Anna Paola Bacalov, Chiara Marolla, Alice Berni, Enrico Fabris. The study of the first Oikos/SONO chapter, dedicated to the relationship with animals, is the winner of the 2024 Dante Cappelletti Award.

Within the framework of the Étape Danse project
project coordinated by Mosaico Danzain collaboration with Lavanderia a Vapore

Artistic and choreographic direction Elisabete Finger
creation and performance Lucas Resende, Marcela Reichelt, Mariana Romagnani, Mariana Pimentel
dramaturgy Olga Drygas
choreographic assistance Sandro Amaral
costumes Thelma Bonavita
sound design João Milet Meirelles
production management ehrliche arbeit – freies Kulturbüro
production residencies Micaela Trigo
Contributors to the research Ben Mucznik, Carolina Sendin, Manoela Rangel, Nicole Gomes

A production by Elisabete Finger
supported by Hauptstadtkulturfonds and Étape Danse, a network of fabrik Potsdam, La Briqueterie CDCN Val-de-Marne and Mosaico Danza – Interplay Festival Torino, Goethe-Institut in Exile and Radialstiftung
with the support of Bureau du Théâtre et de la Danse/Institut français Deutschland, the French Ministry of Culture/DGCA, the City of Potsdam, Fondazione Piemonte dal Vivo, Lavanderia a Vapore Torino and Torinodanza Festival / Fondazione Teatro Stabile di Torino – Teatro Nazionale
in collaboration with Tanz im August Festival Berlin

Hidden Mothers (creation 2026/2027) investigates the tension between visibility and erasure in narratives of care. Drawing inspiration from historical images of the “hidden mother” — a 19th-century photographic practice in which mothers were physically present but visually concealed in order to hold children still — it raises questions about what we are able to see and what remains unnoticed. Rather than treating the hidden as an absence, the work brings it into the frame: the bodies, gestures, dependencies, and obligations that make care possible, but that are regularly pushed out of sight. In this way, the “hidden mother” becomes less a historical curiosity than a political figure: a trace of all those who are structurally necessary and culturally made available. It asks who is allowed to appear as a subject of care, who is condemned to remain its infrastructure, and what might happen when the background refuses to stay still.

Elisabete Finger is a Brazilian choreographer and performer based in Berlin. She studied dance and choreography at institutions including Le CNDC d’Angers and Udk/HZT-MA SODA. Her creations explore bodies and raw materials, revealing internal/external anatomies through images and situations that exist on the boundary between pleasure and disturbance. Her sensory narratives challenge expectations around gender, behaviour, and normativity. Her work has been presented internationally in dance, performance, and visual arts contexts.

by Marta Pastorino
research residency on body and language

The research explores the processes of integration between soma, tell, topics, and writing, traversing and studying four states of the creative process, from body to language and back.
The process occurs through two primary research channels: the sensitive and the integral. Thanks to the sensitive body, a state of expansion and intimacy is achieved in which one listens to the internal word and prepares the body for the birth of integrated language.

Marta Pastorino is an author, educator, and performer. For nearly thirty years, she has been exploring the intersection of writing and the body. She has collaborated on texts for schools and essays on Writing and the Body, including the volume Il corpo, part of the anthology Lezioni di Scrittura, published by Corriere della Sera (2023). On Substack, she publishes corpo>a<corpo, a newsletter on writing, education, pleasure, activism, and autobiography. At Scuola Holden, she is a senior lecturer in various fields of education, leading workshops on storytelling and autobiography. At Academy, she teaches the subject “Intensità.” In 2023, she won the Scuola Holden’s Spencer Chair grant for research on the theme of pleasure in narrative processes, which resulted in a public lecture and a short, unpublished essay. She has held workshops with young adults in prison, storytelling courses for Emergency on the themes of war and migration, and seminars on the relationship between the body and writing at the Lavanderia a Vapore in Turin. She has worked in the Education Department of the Merz Foundation. Together with Francesca Cola, she writes about dance and the performing arts for magazines and founded the BIOSAS collective, presenting its first work, Lathe biosas, in June 2026, as a residency at Mosaico Danza’s Living Lab.

Concept and production by Erica Pianalto and Lisa Nicatore

Inspired by Peter Pan and J. M. Barrie, the project explores the figure of the shadow as a double: an autonomous presence, capable of escaping control, which can transform into an obstacle, support, and opportunity. Through this metaphor, the research interrogates the relationship between disability and performance, asking whether and in what ways a disabled body can be recognized as a dancing body. Disability is imagined as a portal to unexplored worlds, where the pirate becomes a symbol of all those bodies that escape dominant aesthetic and physical canons. In this journey, the attempt to adhere to unattainable models gives way to transformation: the shadow, that which deviates from the norm, emerges as an element of strength and uniqueness.

Erica Pianalto is an activist and performer. Her path spans theater, dance, and contemporary performance practices. Her artistic research is a space for reflection and transformation, fueled by fusions with poetry, music, philosophy, and photography, deeply intertwined with her commitment to the fight against ableism.

Lisa Nicatore is constantly searching for wonder. Through her study of the body, she senses the ability to uncover different parts of the self, to bring worlds to the surface, and to find other tools for understanding reality.

By Ambra Pittoni
This project is supported by the Directorate-General for Contemporary Creativity of the Italian Ministry of Culture under the Italian Council program (14th edition, 2025), with the aim of promoting Italian contemporary art internationally

Hanging from ropes as she attempts to descend into the abyss, Lisetta loses all sense of distinction between herself and the cave. The void calls her, vertigo seduces her, and it only takes an instant for her to fall. Trapped in the depths of the earth, Lisetta begins an inner journey that alternates moments of orthopedic diagnoses with existential and philosophical reflections. The work investigates the relationship between darkness and processes of knowledge. The cave, a geological environment long associated with oracular and otherworldly dimensions, encounters the mouth, the space of linguistic articulation, where the tongue, from its dark cave, incorporates and excorporates the world.
The Space of the Tongue explores language in its poetic, critical, and dysfunctional forms. It follows the path of Semantiche Clandestine, inspired by écriture féminine, which imagined a form of writing capable of giving voice to a female subject historically deprived of her own language. At the same time, it addresses language in its fragmented, iterative aspects, in dialogue with linguistic and pathological phenomena linked to repetition and sound forms such as refrain, reverberation, and echo.

Ambra Pittoni is an artist and choreographer based in Turin. She is co-founder of Scuola della Fine del Tempo (The School of the End of Time) and co-artistic director of Workspace Ricerca X – Research and Dramaturgy. Her works and performances have been presented at Museo Madre, Rinomina, Crédac, De Appel, OGR Torino, CCA Zamek Ujazdowski, Fondazione Baruchello, Lavanderia a Vapore, PAV (Turin), Ashkal Alwan, . She co-curated the Educational Program of the 6th Moscow International Biennale for Young Art (The School of the End of Time) and coordinates various artistic research projects within and beyond academic contexts. She is currently a PhD candidate at the University of Arts Linz with the artistic research project The Promise of the Abyss: Body Practices and New Spaces of Knowledge, for which she received a research fellowship from the VALIE EXPORT Center. Her recent publications include Ten Obvious and Not So Obvious Questions About Artistic Research in Performer les savoirs; Dwelling in the Unhomely: Of Unconstituted Subjects and Their Legendary Psychastenia in Friends Make Books; Raineri & Associati, Flash Art Italia No. 363 and The Choreographic: Thinking in Motion, Thinking Through the Others in P+Arts / Unframing Knowledge. 

A project by Jija Sohn in conversation with Lavanderia a Vapore
with the support of Viernulvier (Ghent)

Posture of Liquidity is a research framework that invites immediate and intuitive intimacy. It activates a state of “liquidity” in which time slows, social boundaries soften, and thoughts, emotions, and relationships move together like a shared tide. During this residency, the research unfolds through two interconnected collaborative chapters. The first focuses on the ongoing study of Pyjama Party, a gathering format developed in close dialogue with Kadri Sirel. Framed as an artistic practice, it invites strangers to cultivate immediate relational bonds by evoking the intimacy of a temporary slumber party. Entering this vulnerable domestic context, the research explores how social barriers soften to activate collective presence. The second chapter dedicates three days to profound and embodied encounters with longtime collaborators: Gosie Vervloessem (Wpzimmer), Julia Reist (Kunstenpunt), and Chiara Organtini (Lavanderia a Vapore). Sharing a resonant investigation into the fundamental question – What is our true work? – the inquiry this time focuses on collective conversations, mutual exchanges of thoughts, and work on the aquatic body, providing a vital space to inhabit the same room, align questions, and support each other’s journeys.

Jija Sohn is a Korean-Japanese artist engaged in creating collective performative situations aimed at exploring the emergence of moments of epiphany, intimacy, pleasure, and trust. Her work focuses on how we connect, foregrounding processes as a relational and experiential space. Her current research, Posture of Liquidity, develops by connecting her aquatic bodywork practice and her pedagogical work at DAS Theatre (ATD), each continually informing and reshaping the other. Since 2026, Jija has been practicing Watsu® and Waterdance, working with water as a space for non-linearity, touch, and deep listening. She also facilitates Listening Bodies, a program within the DAS Theatre Master program, where she works through body- and movement-based sessions to cultivate bodily attunement, fluid group dynamics, and co-learning environments rooted in shared care, playfulness, and curiosity.