Per artistə

a project by Anna Basti
with the critical collaboration of Ariadne Mikou
Chiasma Association
realised with the support of Lavanderia a Vapore as part of the ‘Residenze Trampolino’ programme
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, Artemovimento – choreographic research centre, Fondazione Egri per la Danza (Alta Formazione Egri Danza), Il Gabbiano Danza, Mamadanse, Scuola del Balletto Teatro di Torino, Tilde Danza

Final moment of the project developed over the previous months, with over 80 participants. A rewriting of classical opera with groups of non-professionals and specific communities, using the repertoire as a tool to reflect on the contemporary. The bodies that have gone through this process give life to La companie des étoiles, a changing, temporary grouping, in which the hierarchy that normally informs companies dedicated to the repertoire is annulled.

It begins with a warm-up/warm-up open to all citizens with the format LE CLASSIQUE C’EST CHIC! by Anna Basti.

a project by Anna Basti
with the critical collaboration of Ariadne Mikou
Chiasma Association
realized with the support of Lavanderia a Vapore as part of the program “Residenze Trampolino”
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, Artemovimento – center for choreographic research, Fondazione Egri per la Danza (Alta Formazione Egri Danza), Il Gabbiano Danza, LADD L’arte della Danza, Mamadanse, Scuola del Balletto Teatro di Torino, Tilde Danza

The project Carmen_Nous sommes toutes des étoiles is developed through dialogue between various stakeholders in the area, dance schools, artists Viola Scaglione, Elena Rolla, Amina Amici and choreographer Anna Basti as an activation point to reflect on the content that great ballets and classical works have and continue to convey. The goal is to imagine a rewriting of the work with non-professional groups or specific communities, questioning the hierarchy of bodies that classical ballet expresses and the relational dynamics that its plot brings into play. By reinterpreting not only the ballet but the figure of Carmen herself as an embodiment of the revolutionary power of the feminine, the project activates a process of rediscovering the potential of the body and dance with respect also to current issues that surround us.

From 2019 to the present, Anna Basti‘s research is increasingly oriented toward the involvement of non-professionals and the construction of experiential and participatory containers, in the conviction that knowledge about the body has a revolutionary and transformative power if it is shared with as many subjectivities as possible. With this in mind, it straddles different artistic languages, taking research on the body as a basis for being able to build bridges between various disciplines.

concept and research Flavia Zaganelli
performance and research Maria Durb, Lucrezia Rosellini, Flavia Zaganelli
production Associazione L’Altra

A broad inquiry around and toward pleasure. A tendency, an inclination to search for a condition of openness, connection, rest, bliss and enchantment that can foster Pleasure toward self and others and question the situatedness of our bodies and their positioning in the world. In Placebo Dances we seek postures that are shaken by desire, that gently disrupt bodies and make them waver, to find an erotic closeness of our being in the world. Pleasure is here salvation in times of catastrophe.

The research of Flavia Zaganelli, dance artist and performer, is cross-disciplinary and multidisciplinary. Her performance works investigate the mechanism of relationship in its changing facets. In 2021 she debuts in Danza Urbana with The Game We Play and creates INVISIBILIA thanks to the award of the Bando Abitante of Compagnia Virgilio Sieni. In 2023 she debuts with electrica /ecosi’stɛma/ at Spazio Kor. She is an artist selected for the Boarding Pass Plus Dance 2023 call for proposals for her new research Placebo Dances, hosted at Moving in November Festival (Helsinki) and Graner (Barcelona) in collaboration with Santarcangelo Festival.

a project by Anna Basti
with the critical collaboration of Ariadne Mikou
Chiasma Association
realized with the support of Lavanderia a Vapore as part of the program “Residenze Trampolino”
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, Artemovimento – center for choreographic research, Fondazione Egri per la Danza (Alta Formazione Egri Danza), Il Gabbiano Danza, LADD L’arte della Danza, Mamadanse, Scuola del Balletto Teatro di Torino, Tilde Danza

The project Carmen_Nous sommes toutes des étoiles is developed through dialogue between various stakeholders in the area, dance schools, artists Viola Scaglione, Elena Rolla, Amina Amici and choreographer Anna Basti as an activation point to reflect on the content that great ballets and classical works have and continue to convey. The goal is to imagine a rewriting of the work with non-professional groups or specific communities, questioning the hierarchy of bodies that classical ballet expresses and the relational dynamics that its plot brings into play. By reinterpreting not only the ballet but the figure of Carmen herself as an embodiment of the revolutionary power of the feminine, the project activates a process of rediscovering the potential of the body and dance with respect also to current issues that surround us.

From 2019 to the present, Anna Basti‘s research is increasingly oriented toward the involvement of non-professionals and the construction of experiential and participatory containers, in the conviction that knowledge about the body has a revolutionary and transformative power if it is shared with as many subjectivities as possible. With this in mind, it straddles different artistic languages, taking research on the body as a basis for being able to build bridges between various disciplines.

a project by Silvia Calderoni and Ilenia Caleo
with Silvia Calderoni, Ilenia Caleo, Ondina Quadri, Francesca Turrini
sound climate Martina Ruggeri
organization and curation Elisa Bartolucci
co-productions VIELNURVIEL (Ghent); Motus Vague; Emilia Romagna TeatroERT / National Theatre

temporale is a performance project that investigates subtle phenomena, on the brink of perception, and materializes the restlessness of this present time. The dramaturgy is composed of emotional movements and meteorologies. Can a change of mood move the air, shift a chair, change the landscape? temporale is an ongoing search for transitions, for shifts. In a time dominated by full HD, low-definition entities – ectoplasms, condensed humors, gelatinous and sticky bodies that multiply over the duration of the performance – and backrooms are preferred: environments that exist only in the web, quasi-places that do not exist. In these endlessly repeated yellow rooms, something happened. But we don’t know what.

Calderoni-Caleo met in 2012 and began a joint project between art residencies, research ateliers and performances. Since 2017, they have been teaching at IUAV Venice in the Visual Arts Workshop. Starting with the Biennale College Teatro 2018 workshop, they gave birth to KISS (2019). For the Queering Platform of the Freespace West Kowloon in Honk Kong, they conceived the nomadic project SO IT IS. In 2021 they were part of Flu水o, for which they created the performative action thefutureisNOW? (Milan, Seoul, Shanghai). In 2022 they created the installation Pick Pocket Paradise for the exhibition “Espressioni confrazioni” at the Castello di Rivoli – Museum of Contemporary Art (Turin).They are associate artists of the Italian Pavilion of the Architecture Biennale 2023. In 2023 their latest performance work The present is not enough debuted in Hamburg.

concept by Fabritia D’Intino, Vincent Giampino and Riccardo Guratti
development by Fabritia D’Intino, Vincent Giampino
support Teatri di Vetro and Lavanderia a Vapore

Research project that aims at the overflow of individual processes within the margins of others’ processes, mixing, hybridizing and bastardizing subjects and authorships. The intent is to create a horizontal zone of analysis, confrontation and reciprocity where choreographers exchange materials, research, practices, works and objects of interest. The aim is to give space for a process of homogenizing the knowledge and perception of each other and their work, to grasp and name the foundational pillars and strengths of individual choreographic processes and artistic discourses. Foundational to the work is the operation of boosterage, i.e., dismemberment and relocation of different authorships in a fortified, empowered, exploded meaning.The attitude of exchange is one that defines the “how” and not the “what.” From an alliance perspective, one wants to grant oneself a space of self-curatorship, defined in boundaries of closeness, friendship, assonance. This apparatus arises from proximity and offers itself as a basis and support for the flourishing of new frequentations, connections and relationships in a shared and expanded temporality.

a project by Anna Basti
with the critical collaboration of Ariadne Mikou
Chiasma Association
realized with the support of Lavanderia a Vapore as part of the program “Residenze Trampolino”
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, Artemovimento – center for choreographic research, Fondazione Egri per la Danza (Alta Formazione Egri Danza), Il Gabbiano Danza, LADD L’arte della Danza, Mamadanse, Scuola del Balletto Teatro di Torino, Tilde Danza

The project Carmen_Nous sommes toutes des étoiles is developed through dialogue between various stakeholders in the area, dance schools, artists Viola Scaglione, Elena Rolla, Amina Amici and choreographer Anna Basti as an activation point to reflect on the content that great ballets and classical works have and continue to convey. The goal is to imagine a rewriting of the work with non-professional groups or specific communities, questioning the hierarchy of bodies that classical ballet expresses and the relational dynamics that its plot brings into play. By reinterpreting not only the ballet but the figure of Carmen herself as an embodiment of the revolutionary power of the feminine, the project activates a process of rediscovering the potential of the body and dance with respect also to current issues that surround us.

From 2019 to the present, Anna Basti‘s research is increasingly oriented toward the involvement of non-professionals and the construction of experiential and participatory containers, in the conviction that knowledge about the body has a revolutionary and transformative power if it is shared with as many subjectivities as possible. With this in mind, it straddles different artistic languages, taking research on the body as a basis for being able to build bridges between various disciplines.

Artistic direction, concept, choreography, dance Lina Gómez
in collaboration with Luciane Ramos Silva, Ana Lessing Menjibar, Cenith Antonia Serrudo, Rosa Tulia Garcia
live music Aduni Guedes and Andrea Parolin
light design Bruno Pocheron
dramaturgy Thomas Schaupp
as part of the project Etape Danse

Vasta is the research for the piece “Unravel,” by and with Lina Gómez, which delves into the power of ancestral and fictional heritage by vibrating through the voices and bodies of women of different generations. Lina Gómez returns to the stage after fourteen years with this work in which she reflects on cultural and dance practices and the persistence of the body in history. Inspired by her background in Colombian Afro-Brazilian traditions, Lina Gómez invites the audience to connect with this legacy and reflect on how it can once again create community and identity today.

Colombian-born choreographer, dancer and teacher Lina Gómez studied dance and theater in São Paulo and Berlin, where she currently lives and works. Her group piece “A Passo di Mulo” debuted at TanzfabrikBerlin in 2018 and was staged again the following year. Her work “Restraint” was presented in various spaces in Europe and was part of the European dance platform “Aerowaves Twenty19.” Recently, the development of her group work “Träumerei des Verschwindens” (2022) and the premiere of her latest work “Vagarosas” (2023) were hosted at Radialsystem in Berlin. As a dancer and performer, Lina Gómez has worked with Tino Sehgal, Yoshiko Chuma, Edson Fernandes and Jorge Garcia, among others. In addition, since 2015, the Goethe-Institut has supported her research residencies in Uruguay, India, Chile, Turkey and Japan.

Public opening Thursday, March 27, 6 p.m., reservations: estdahl@lavanderiaavapore.eu

choreography Vincent Giampino
sound dimension Draco Pampera
performance objects Edoardo Ciaralli
curation and promotion Marco Burchini
outside eye and dialogues Paola Granato
production TIR Danza
residence Teatro Biblioteca Quarticciolo

Fucking Pure is a solo, choreographic and performative object that defines its premises around the study of the saraband in danced and set to music form.The study of the two art forms does not take place by finalizing their staging and scenic form, but on the contrary separately and independently of each other. From the crawling step, typical of the saraband, to the basso continuo as a compositional detail, all elements are used for the creation of a danced and embodied tempo: not a reworking of the historical saraband, but a new dance of power.

Vincent Giampino, choreography-maker and performer, trained between Italy,Germany and Holland. His early works are shown in Germany, Belgium and the Netherlands and, since 2018, also in Italy, where he presents his creations in theaters and festivals including Fabbrica Europa and Teatro Florida in Florence; Gender Bender in Bologna; Short Theatre, Teatri di Vetro and Buffalo in Rome. In 2021, he participated in the open field settlement of Live Arts Week X in Bologna. She has collaborated with artists, choreographers, musicians including Greta Francolini, Cristina Kristal Rizzo, Edoardo Ciaralli, Lady Maru.

concept, creation, texts Michela Depetris
with Michela Depetris
voice Bianca Stoppani
sound design Pony Esposito
production CodedUomo
with the support of Lavanderia a Vapore

A research that encourages seeing in intersections and pauses, pouring the invisible into the visible and playing with randomness. A project that brings in practices to train the right side of the brain, a reflection on gaze, visionarity and suspension proposed in the form of a hallucinated choreographic/performance device to confuse agent and acted, to overlap sight and vision. A system to put bodies at rest and discover alert minds, a call to exercise the capacity to imagine beyond, to gush futures. The dramaturgy flows intimately, unpredictably, without morality, without prejudice, without censorship, and is composed as reality and fiction flirt.

Michela Depetris trained between Italy and Spain in contemporary dance and visual arts. She works in performance contexts as performer and as author, situating her research in an open field in which every medium always leads to bodily practices and an expanded vision of choreography. She works with the poetics and politics of the body in the folds between performance, writing, sound, choreography, installation, video and more. She loves to design visionary and immersive environments where perception is activated and all bodies are at the center.

A water-based bodywork in which water invites in an intimate, self-reflective space. The research aims at an artistic translation of this unique quality of intimacy, in which the body of the giver becomes an invisible medium, helping the receiver to truly connect with their own body. A space in which participants can immerse themselves in a safe and alternative environment, encouraging them to unleash their creative potential. How can we co-create a space of trust and a condition in which playful exploration is encouraged? The research then investigates how embodied practices can bring new depth to our daily time, helping us to connect, think and work in ways that fully honor our selves.

Jija Sohn is a Japanese-Korean artist based in Amsterdam. She has rooted her practice in the principles of well-being, care and fullness of life. Since 2019, she has dedicated her work to exploring human connections and relationships, developing three community-based projects-“Lands of Concert,” “Phantom Travels” and “Landing on Feathers.” She also worked on the community project “Performing Gender – Dancing In Your Shoes” with Theater festivalBoulevard in 2022-2023.These projects became her way of looking inside human nature, recognizing and embracing all its flaws and strengths. Since 2023 he has been studying water body practices such as Watsu® (Shiatsu in Water) and Water Dance and immersing himself in water as an environment for the exploration of movement as artistic territory.

movement and writing Giorgia Ohanesian Nardin
contributions to writing Giulia Crispiani, Noura Tafeche, serafine1369
sound and video F. De Isabella
design and manufacture costumes Max Simonetto naturaviolenta
set design Max Simonetto naturaviolenta
lighting design Giulia Pastore
movement consulting Elena Giannotti
curation and production Giulia Traversi

An elegy, a prayer, a liturgical song for all that is returning to the Earth, to be transformed. A communion with the spirits, an elemental way of being in the body. Whatever I am / let it be seen takes up the experiential dimension of dance, the central importance of what is ephemeral and cathartic. At a time when we are called upon to feel more than ever the crushing weight of what can no longer be, the artist turns to the body and its experience, anchoring a sensitive and necessary, transformative perception and starting with dance as an inexplicable, unjustifiable, perceivable and liveable and traversable practice. The work invites the audience to do the same: to traverse the exact moment of the performance by welcoming its offer of release.

Giorgia Ohanesian Nardin is an Italian artist of Armenian descent who practices in the contexts of dance and live performance. Her work manifests in video movement, text, choreography, sound, and gatherings and deals with the relationship between dance, divination, and writing; with geography and the opposite of belonging; and with the fetish for language, its politics, and its many frictions. Since 2018 he has regularly held Pleasure Body, a space for facilitating practices and conversations related to pleasure and rest.