Per artistə

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. 

Project, choreography Stefania Tansini
dance Stefania Tansini
sound dramaturgy Enrico Malatesta
lights Elena Gui
costumes Chiara Venturini, Stefania Tansini
organisation and promotion Federica Parisi
co-produced by Nanou Associazione Culturale, Orbita | Spellbound Centro Nazionale di Produzione della Danza
with the production support of Fondazione Teatro Grande di Brescia, I Teatri di Reggio Emilia | Festival Aperto, Torinodanza Festival
with the support of Étape Danse | network of Fabrik Potsdam (DE), Bureau du Théâtre et de la Danse (DE), La Briqueterie CDCN (FR), MosaicoDanza/ Festival Interplay (IT), in partnership with Lavanderiaa Vapore/ Piemonte dalVivo and Torinodanza Festival /Fondazione del Teatro Stabiledi Torino, L’arboreto Centrodi Residenza Emilia-Romagna
thanks to Chiara Organtini, CarolinaEllero, Valentina Foschi, TeodoraGrano, Vincent Giampino• PRODUCTION PARTNERS IN DIALOGUE – Madeleine2026 FOG Performing Arts Festival | Triennale di Milano, Centro Nazionale della Danza Virgilio Sieni, Bolzano-Danza, Romaeuropa Festival, Oriente Occidente
Project selected for ResiDance 2026

Inspired by Marcel Proust’s famous passage on madeleines, Tansini explores how sensory experiences can collapse the past and present, awakening untamed bodies. Through this lens, presences become instruments capable of revealing the continuous change, overlapping and dissolution of hidden realities and temporalities. At the heart of the project is Tansini’s distinctive physical language, an exploration of the body as an unstable and transformative organism. Her work draws the audience into a state of heightened perception, where the ordinary becomes charged with intimacy and intensity. The performance space is not merely a backdrop, but an integral part of the choreography. The result is an experience that lies “between the crude and the refined, between the formal and the wild”, continually assembling and reassembling fragments of the surrounding world.

Winner of numerous awards, including the 2022 Ubu Prize for Best Performer Under 35, Stefania Tansini develops her choreographic research based on a material and sensory investigation of the body as a place of transfiguration and tension, between form and decay, between control and abandonment, in a constant dialogue between fullness and emptiness. Her works have been presented at numerous festivals, including the Romaeuropa Festival, FOG Festival, Santarcangelo Festival, Gender Bender Festival, La Democrazia del Corpo Festival, Interplay Festival, Bolzano Danza and Emergentia Festival. She is supported by the Fondazione Teatro Grande di Brescia for the period 2022-2024 and by Mosaico-Danza/Interplay for the period 2024-2026.

A project by Jija Sohn
in collaboration with Kadri Sirel and Lavanderia a Vapore
with the support of Vernulvier Gent

Moments of epiphany, in which intimacy and trust are immediately perceived, without the need for explanation. When this happens, it is like entering a state of fluidity: time slows down, becomes liquid, and sensations, thoughts, emotions and relationships begin to move together, like a shared tide.
For Jija Sohn, water represents an intimate space for self-reflection, inviting us to soften, listen and change.
What posture allows these moments to unfold? How can we stay close to the core of our own research, remain in relationship with others and with the environment, instead of getting lost in expectations or distractions?
This research began through a shared investigation with Kadri Sirel (Lavanderia a Vapore): how to create a good conversation, a conversation guided by curiosity, in which it is possible to share and in which space is given to moments of discovery. Two formats emerged from this process: Liquid Blue Walk and Pajama Party; not performances, but shared situations, structured through walking, chatting, resting, moving and listening. Jija Sohn’s research develops these formats, exploring how encounters can be sustained, perceived and witnessed through carefully maintained conditions.

Jija Sohn is a Japanese-Korean artist based in Amsterdam. Since 2019, she has dedicated her work to exploring human connections and relationships. She worked on the community project “Performing Gender – Dancing In Your Shoes” with the Theater Festival Boulevard in 2022–2023. Since 2023, she has been studying water-based practices such as Watsu® (Shiatsu in water) and Water Dance, immersing herself in water as an environment for exploring movement as an artistic territory.

By Giorgia Lolli
with Vittoria Caneva, Elena Grappi, Maria Chiara Vitti, Giorgia Lolli
costumes Eva-Liis Lidenburg, Sara Lando (tiger)
sound Sebastian Kurtén
dramaturgy Piero Ramella
production Nexus Factory
with the contribution of the Ministry of Culture, Emilia-Romagna Region, Municipality of Bologna
with the support of MiC and SIAE, within program “Per Chi Crea” and supportER – Rete Anticorpi Emilia-Romagna, Nouveau Grand Tour 2024 (IIC Paris and Le Gymnase CNDC, Roubaix), Ira Institute, Operaestate/CSC Centro di Residenza del Veneto – Vene. Re, Piemonte dal Vivo as part of the Lavanderie a Vapore Choreographic Residencies project, I Teatri di Reggio Emilia, HOME 2025 / Dance Gallery Perugia, City of Espoo Culture Committee, Arts Promotion Centre Finland, Graner (Barcelona)
as part of LANDING, a project supported by the Ministry of Foreign Affairs and International Cooperation, produced by Santarcangelo Festival, in collaboration with and with the support of the Italian Cultural Institute in Oslo
artistic residency presented as part of the R.O.M. (Residencies On the Move) network for Reykjavik Dance Festival, at the invitation of Santarcangelo Festival, in partnership with La Balsamine (Belgium), le joli collectif – Théâtre l’Aire Libre (France), Théâtre Prospero and Théâtre Periscope (Canada)

BODY SWEATS (for Elsa) is a tribute to Baroness Elsa von Freytag-Loringhoven (1874-1927), poet and avant-garde artist, pioneer of the Dada movement. The title is taken from her collection of poems of the same name, an erotic and proto-punk manifesto. Dance, lecture performance, poetry reading, workout: sweat will be a way to explore the intertwining of effort and pleasure, the binding agent of a heterogeneous collage of dance and textual materials. Love letters between friends and lovers. Waterless gymnastics in tiger-striped bodysuits. A poem for the Baroness. Dedicating a split to her. Dada(umpa).

Giorgia Lolli holds a Master’s degree in Choreography from Helsinki Uniarts (2025) and has worked between Italy and Finland for the past three years. Since 2022, she has been teaching Dance Well – Movement Research for Parkinson’s as part of the European project coordinated by Operaestate. Her choreographic work has been featured on various foreign and national platforms (Anghiari Dance Hub 2020, Vetrina della Giovane Danza d’Autore 2021, SIAE Per Chi Crea 2023, Nuovo Forno del Pane 2023, MAMbo – Museum of Modern Art in Bologna). With EAT ME, winner of DNAppunti Coreografici, he made his debut at the Romaeuropa Festival 2024.

Based on an idea by Doriana Crema

Tabula Rasa continues its journey of exploration, revisiting some aspects of previous residencies and this time becoming a call to action. For those who wish to take on the responsibility of staying in an empty space for a period of time, in silence, and listening to the absence. The absence of something to see, to do, to say. What goes through us when we position ourselves on the edge of an unknown empty space? What happens if that space becomes an extension of our being, where the occurrence of our presence creates other forms and meanings, not yet imagined, less visible, more intimate, perhaps deeper? Being and perhaps crossing that predetermined space takes on a meaning that is that of the gaze of the person who makes this journey alone. Complexity is stripped away, the empty space becomes the space where we can find ourselves, where we can sink into listening, where we can grasp our uncertainty; there we can grasp that ‘nothing is as it seems’, perhaps.

Associate artist at Lavanderia a Vapore, trainer, choreographer, psychosynthetic counselor, Doriana Crema trained as a dancer at the Teatro Nuovo in Turin with Carla Perotti, as a practitioner in the field of body expression with Anna Sagna at the Bella Hutter dance school, furthered her training in contemporary dance with Raffaella Giordano, and followed the training process in sensitive dance with Claude Coldy. She has been a trainer in body expression workshops with children and teachers at various educational institutions in Turin and Strasbourg. In 2016, she created the Danzatori di Comunità (Community Dancers) training course together with Rita Fabris. She curates the Solitudo project “Visions for a creative community” together with Raffaella Tomellini and Fabio Castello. She accompanies individual artists and dance companies in their creative processes. She is a counselor and teacher at the Scuola Superiore di Counseling in Turin.

ARIA brings together a group of artists and curators around the challenge of imagining a vaporous space in which to sketch out alternative geographies of being together. The artists who will nurture this process are: Anna Basti, Adriana Borriello, B.Bordoni, Francesca Cinalli, Christopher Serebour with Caterina Mocciola, Flavia Zaganelli, with contributions from Doriana Crema, Jija Sohn, and Salvo Lombardo.

The ARIA call for applications stems from the transformation of the AiR – artists in residence call, which until now has provided support for individual artistic creation projects, now rethinking its function as support for a collective research residency, shared with the host institution, questioning together issues and formats to be opened up to wider communities.

Lavanderia a Vapore and its team are engaging in the residency itself as an opportunity to rethink their organizational models through a porous and reciprocal attitude, aimed at questioning unilateral relationships and enabling other possibilities, other forms of systemic, synergistic, and horizontal relationships.

Concept and choreography Gianmaria Borzillo
performance, creation and artistic collaboration Antonio Tagliarini, Barbara Novati, Fra De Isabella, Gianmaria Borzillo, Nicole De Leo
music Diamond Jubilee (Cindy Lee, 2024)
light and set design Cosimo Ferrigolo, Valeria Foti
curation and promotion Giulia Traversi, Irene Rossini
production corpoceleste_C.C.00#
with the support of ZEIT/ LeAlleanze Dei Corpi, mareculturale urbano – Milan

E la bella stanza è vuota was inspired by Cindy Lee’s album Diamond Jubilee, a series of suggestions that guide the creation of the work, as well as the energy and spirit of being on stage. The album is the first element of a dramaturgy that seeks to reflect on the elusive and imperceptible relationship with the other, attempting to dialogue, perhaps in vain, with the memorial need underlying the photographic action: Nan Goldin, for example, photographs in order to impossibly grasp her sister Barbara. The photo, which is a cast, captures the moment, restoring people who are gone; yet the mystery persists. All that remains is the testimony of this gathering of solitudes. The mystery of the relationship and a photo shoot with five performers: a work that attempts to construct a cross-section of a multiple and varied humanity that literally passes before us; almost a raw, vivid and subacid synthesis of a series of stories that manifest themselves through the relationship between bodies and identities and their metamorphoses, a becoming-looked-at and a looking that becomes dance. A movement that will ultimately leave only the aura of the memory of the people who have passed through this now empty room.

Gianmaria Borzillo is a dancer, performer and director. His creative research spans multiple languages: dance, performance, literature and cinema, driven by the need to create works dictated by a compositional freedom that can range across disciplines. After graduating as a dancer from the Paolo Grassi Civic Theatre School, he obtained a degree in modern literature and continued his studies in cinema and literature at the Sorbonne in Paris. He is one of the performers in Alessandro Sciarroni’s works and has also collaborated with Chiara Bersani, Antonio Tagliarini, Alessandro Carboni and Jacopo Miliani. His first work, under the influence, received a special mention in the Venice Biennale’s directors’ competition. His second project, Femenine by Julius Eastman, was among the winners of the IIC’s Nouveau Grand Tour in Paris and was supported by CENTQUATRE-PARIS, the Peggy Guggenheim Collection and Oriente/Occidente. Her latest performance research, E la bella stanza è vuota, was selected for the Nid Platform 2025.

By and with Viola Scaglione
co-directed by Silvia Gribaudi
movement coach Marta Ciappina
creative process Doriana Crema
creative producer Ewa Gleisner
produced by Balletto Teatro di Torino
with the support of the Ministry of Culture, Piedmont Region
as part of the Lavanderia a Vapore choreographic residency project

Secondo quarto di luna is a crossing. A threshold between what is revealed and what remains in the shadows. Like the waxing phase of the lunar cycle, the show inhabits a borderline between light and darkness, where fragility and strength meet and melancholy becomes a driving force for possibility.
Conceived and performed by Viola Scaglione, the work stems from a personal and artistic need: to give body and voice to a space that for years has remained in darkness, avoided, as if frequenting it meant breaking a fragile balance.
In that inner place, where once there was a fear of disturbing, now there is a desire to be. A vital, political, poetic act: to take root in one’s own present, to show oneself whole even in incompleteness, to choose to simply be there, just as one is. A dance that speaks of maturity and freedom, that does not fear loneliness, but courageously traverses it.

Viola Scaglione is a dancer and choreographer. Since 2015, she has been the artistic director of BTT – Balletto Teatro di Torino, guiding it towards a contemporary identity, open to the fusion of dance, performance and experimental musical theatre. She is the artistic consultant for the BEinSIDE Acqui in Palcoscenico Festival and, since 2024, artistic supervisor for the “Tensioni Temporanee” festival organised by the Fondazione Piemonte dal Vivo in Novi Ligure.

A project by Anna Basti – Associazione Chiasma
produced with the support of Lavanderia a Vapore as part of the “Residenze Trampolino” program
artists involved for Lavanderia a Vapore Viola Scaglione/Balletto Teatro di Torino; Elena Rolla/Compagnia EgriBiancoDanza; Amina Amici/Compagnia Zerogrammi
participating schools  Ad’a Dance Studio, Apid Piemonte, asd Sport 8, Fondazione Egri per la Danza (Alta Formazione Egri Danza), Mamadanse – Centro di Formazione alla Danza, Scuola del Balletto Teatro di Torino, Tilde Danza

The Carmen_Nous sommes toustes des étoiles project has developed thanks to dialogue between various local entities, dance schools, artists Viola Scaglione, Elena Rolla, Amina Amici, and choreographer Anna Basti, as a starting point for reflecting on the content that great ballets and classical works have conveyed and continue to convey. The goal, in 2026, is to continue to investigate what the figure of Carmen evokes; to reflect on the power that bodies can express in relation to Audre Lorde’s idea of the erotic: the erotic as a generative force, as a quality of doing, as power. This new research session touches on another fundamental aspect of the figure of Carmen: the magical. In the novella, the magical element drives the archaeologist/narrator’s desire to deepen his knowledge of Carmen. In the opera, it is reduced to a reading of cards, which foreshadows the tragic end of Carmen and Don José. In Roland Petit’s ballet, it is completely eliminated.
Just as we have encountered and tried to embrace an idea of the erotic that differs from the commonly perceived one, can we give a different value to the idea of the magical? Can we read it as a resource, an additional level of sensitivity and perception that can nourish our relationship with reality? As a terrain that escapes the rational and productive control that is offered to us as the only way to be in the world? As an “illicit form of power” and knowledge, which, because it is perceived as exceeding a standardized vision of reality, is fought against because it is difficult to control?

From 2019 to the present, Anna Basti‘s research has been increasingly oriented towards the involvement of non-professionals and the construction of experiential and participatory containers, in the belief that knowledge about the body has a revolutionary and transformative power when shared with as many subjects as possible. With this in mind, she straddles different artistic languages, taking research on the body as a starting point for building bridges between various disciplines.

Curated by Francesca Cinalli and Paolo De Santis – Compagnia Tecnologia Filosofica
in collaboration with Lavanderia a Vapore
as part of the Campi Creativi project by Tecnologia Filosofica

Campi Gravitazionali is a program of meetings aimed at young people interested in sharing a time of exploration and study through the artistic processes underway at Lavanderia. A space for intellectual, philosophical, spiritual, playful, and personal growth: artistic practices, exercises, methods of composition, and research methods that encourage the exchange of experiences between young people, artists in residence, and cultural project leaders.

Project aimed at young artists under 35. For info and registration, contact: francescacinalli@libero.it

Curated by Francesca Cinalli and Paolo De Santis – Compagnia Tecnologia Filosofica
in collaboration with Lavanderia a Vapore
as part of the Campi Creativi project by Tecnologia Filosofica

Campi Gravitazionali is a program of meetings aimed at young people interested in sharing a time of exploration and study through the artistic processes underway at Lavanderia. A space for intellectual, philosophical, spiritual, playful, and personal growth: artistic practices, exercises, methods of composition, and research methods that encourage the exchange of experiences between young people, artists in residence, and cultural project leaders.

Project aimed at young artists under 35. For info and registration, contact: francescacinalli@libero.it

Choreography and performance Florencia Demestri + Samuel Lefeuvre
music Raphaëlle Latini
light design Nicolas Olivier
technical direction and stage management François Bodeux
costumes Vanessa Pinto, Natalia Fandiño
dramaturgy Arnaud Timmermans
production and distribution Charlotte Grace Wacker
administration Camille Collard
produced by LOG asbl
co-production Charleroi Danse, Les Brigittines, La Place de la Danse – CDCN Toulouse / Occitanie as part of the Accueil-Studio programme, MARS – Mons Arts de la Scène
supported by La Fabrique des Possibles + Peeping Tom + GRAND STUDIO
with the help of Fédération Wallonie Bruxelles, WBI

Troisième Nature is a dynamic landscape, a duet performance that changes our perception of bodies as mere choreographic objects, transforming them into ecosystems with interconnected parts, both on a micro and macro scale. Through a series of evocative images, it conjures up the phenomenon of pareidolia, that spontaneous transformation of the visible that makes us see a horse in a cloud or a mountain range in damp patches.

The Demestri+Lefeuvre company brings to life the artistic projects of French-Argentinian dancers and choreographers Florencia Demestri and Samuel Lefeuvre. In recent years, they have embarked on a series of creations that question the imaginings on which we build our relationship with the world and life. Demestri+Lefeuvre are artists associated with Charleroi Danse, Choreographic Centre of the FWB – 2023-2026. The company is supported by GRAND STUDIO in Brussels. Florencia Demestri and Samuel Lefeuvre were part of the Grand Luxe network of artists in 2024 and have been selected to be part of the EMERGE network for the next four years – 2024-2028. The Demestri+Lefeuvre company is supported by the FWB, the WBTD and the WBI.