Collaboration

Antonio Perticara is an Italian artist based in Rome. In recent years his work has focused on forms akin to lecture performances, using an ironic and at times clumsy tone that balances between truth and fiction. He attended an MA in Sculpture at the Accademia di Belle Arti di Brera (Milan) and later a First Level Master’s Degree in Performing Arts at the Accademia di Belle Arti di Roma. In his practice, he is interested in the cultural and psychological conditions that enable the proliferation of distorted narratives, false beliefs, and states of disorientation on both collective and individual levels. Drawing from a range of documentary and literary sources, as well as from everyday experience, his research seeks to reveal the social and psychological tensions that shape precarious forms of subjectivity. Through his work, he attempts to reflect on the mechanisms through which discourse takes form and becomes visible.

Carolina Cappeli

Carolina Cappelli is an Italian performer, filmmaker and artistic gymnastic teacher. Her research involves the hybridization between writing and performative and cinematographic practices. Strongly related to re-enactment as a primary tool of investigation, she often works with existing material as a starting point for generating alternative narratives and researching on the image of the catastrophe and the catastrophe of the image. Together with Roberto Fassone, she has a studio in a nursing home. Since 2019, Carolina is member and curator of Foglia Tonda, an association which investigate the different management of internal rural areas of the peninsula. 

I would describe my research as trans-disciplinary, based on the intersection of filmmaking, workshops, live performance and writing. During the past years, my focus has been increasingly related to the hybridization of moving images and live practices, conceiving re-enactment as a recycling operation by reframing and distorting pre-existent footage. In particular, I see the re-staging of films (whether home movies, fictional, or documentaries) as an opportunity to make a parallel time and space appear, working with a set that never completely goes away. I have found myself deeply engaged by the “documentarization” of fiction and fictionalization of the documentary, having a deep interest in what Julie Perini calls relational filmmaking and in setting up situations in which it is possible to make short-circuits happen, as well as collaborating with different communities, usually of non-actresses\actors. During the past two years, I’ve been working on the repetition of catastrophes staging and the formation of survival communities, researching on the idea of post-visionaries as people with the obsolete super-power of foresee a past future, arriving so late for the ongoing disaster to be in advance for the next one. 

Marco-Augusto Basso

Marco-Augusto Basso is an Italian researcher and performer, his practice develops devices and strategic practices on poetic imagery and investigates their performative capabilities. He works between the possibilities provided by the theatrical and musical context with research-based performance projects (such as the post-exotic series presented in 2021 at Pinksummer), and electronic music. He carries out a practical activity as sculptor and curator focusing on multiplicities and binarisms in historical and antropological context. He is founder and curator of the artist-run space ‘Palazzo Bronzo’ in Genoa, Italy.

My practice tries to include a strong analysis of dystopian culture, embarking on a path that inhabits non-binarisms, trying to discredit rational negativism and inhabiting narrative hypotheses that do not necessarily agree with each other. With the cycle of performances ‘lessons on post-exoticism’ presented at Pinksummer Contemporary Art and at Teatro della Tosse in Genoa, I think I have concluded a first part of the path. I intend to continue this research winking at theory fiction and literary speculation to include it in a denser theoretical environment, inhabited by hyper-real and spectral presences. 

I wish to use the performance as a passe-partout to lead into a living image, preparing the performers to bring to the surface images and stories that are difficult to read and haunted, populated by triggers and loops that look at the biography of the gen-z and shift it into a dreamlike dimension. The methodologies in the field call for bodies, sculptures, electronic music, the visual archive and secrecy: the ultimate tool to open the queer component of the act to the abyss of possible mystery. The imaginary of reference is certainly that of a post-Harawayan ecological contact with the strategies of responsibility between nature and cuture, between body and law, attempting to treat diversity and the queer (in the words of Karen Barad) as an incatalogisable, lively changing organism.