11-17 December 2016 | 10:30 - 12:30h

Palazzo MichielStrada Nuova 4391, Campo Santi Apostoli


13 December 2016 | 10:30 - 12:30h

Teatrino di Palazzo Grassi, San Marco 3260, nearby Palazzo Grassi


Admission Free. Ingresso libero.

Please note that the program may be subject to change.

Daily morning program of public roundtables and talks on performance art related issues with the participating artists, curators, directors and researchers, moderated by international scholars. Meeting with the visitors, students and curators.





SUNDAY, 11 December


With Giovanni Fontana and Patrizio Peterlini (Fondazione Bonotto), Italy



The interaction between orality and writing, when one crosses from one to the other and back, offers to the poet interesting areas of intervention; provided that orality is not linked to the techniques of natural memory, but rather based on artificial memories of writing on the one hand, and electronics on the other. Along this road, we arrive at a conception of the text as an integrated text, as a resonating politext, a multipoetic sonoral hypertext. The poet turns poliartist: he appropriates himself of the electronic practices, videographics, cinema, photography, sound universe (besides music), the theatrical dimension (beyond theater), the rhythmic universe. He acts poetically making use of all techniques, media and spaces, without detracting from the creative scope his very own body, gesture and voice: elements that, linked to the new technologies and powered by the energetic substrate of electronics, form the foundation of a new poetic attitude.



Monday, 12 December

UNDER A DIFFERENT SUN. Obscured History, Female Perspectives

With Celeste Ricci & Chiara Cartuccia (EX NUNC), London; Nathalie Anguezomo Mba Bikoro (Gabon/UK) and Jeannette Ehlers (Trinidad&Tobago/Denmark)



The co-curated section UNDER A DIFFERENT SUN. Obscured Histories, Female Perspectives presents performative works that take into analysis fragmented and submerged historical narratives, systematically marginalisation and/or negated by Western historiography. The authors, female artists of Africa diasporas, choose liminal, sharp perspectives, which cast new lights on obscured realities, in the past and present. Curators and artists will speak about the works that are motivated and moved by the female gaze and gesture, here once again able to awake the presence of the – only apparently – lost.





Tuesday, 13 December | Teatrino di Palazzo Grassi


With Aurora Fonda (Galleria A plus A, Venice), Marta Miljanovic and Milica Pekic (Galerija G21 HUB, Belgrade)






Wednesday, 14 December


With Kyrahm + Julius Kaiser (Rome)



Kyrahm and Julius Kaiser are an Italian artist couple based in Rome, with individual expertises in the fields of visual and performance art, video art, film and LGTB activism. Upon their encounter, they started the project Human Installations, a research comprising contemporary art, live art and avant-garde theatre. Following their two live performances at the ART WEEK, Kyrahm and Julius Kaiser talk deeper into their practice and share with the audience on this morning the short film by Claudio del Signore Drag king, Julia's Dream (2015), as well as the documentary Oltre il corpo (2016), featuring VestAndPage, Fioramanti, Kyrahm, Collettivo Cercle & Ron Athey.





Thursday, 15 December

THE DREAM OF ANTIGONE :: Performance Art in Greece Between The Seventies And Today

With Eirini Papakonstantinou (Thessaloniki State Museum of Contemporary Art) and Angeliki Avgitidou (University of Western Macedonia), moderated by Francesco Kiais (G.A.P. Gathering Around Performance)



The exhibition section co-curated by G.A.P. Gathering Around Perfomance in a supportive collaboration with the Thessaloniki State Museum of Contemporary Artaims at offering a look, albeit partial, however significant at the Greek art scene in relation to performance art. Presenting both artists who made performances since the early '70s, and artists who practice performance art today, the "dream" shows a reflection on the meaning that this art form takes in our historic present, also in relation to social and cultural needs which caused its onset and development in the twentieth century. The title of this section was inspired by Sophocles' tragedy, in which Antigone represents the voice of the weakest, affirming that the Polis laws has to be based on humanitarian principles, sharable by all.





Friday, 16 December


THE LATINAMERICAN PAVILLION - A PERFORMATIVE EXERCISE With Prem Sarjo & Alexander Del Re (Ejercicios Mosqueto / PerfoLink), Santiago de Chile



Proyecto Líquido. Desire. Live art in the Basin of Mexico / Affect, Language and Memory with Noé Martínez. Proyecto Líquido uses diverse curatorial formats and aesthetic experiences to investigate the production and exchange of affects as axes of existence that provoke imaginary and material operations, in Mexico City. Proyecto Líquido. Fear, 2012 focused its interest on the fields of action indicated by these operations, and on their aesthetic, poetic and political consequences. Through the hybridisation of media, genre  subversion and live art, Proyecto Líquido. Desire, 2016 continues this research. For Desire, 12 international artists have been invited to explore through commissioned pieces and in specific sites of the Basin of Mexico, the logics under which desire operates, as well as its shifts between beauty, horror, fiction, loss and belonging, from the desiring/desired body to the controlled body. With Noe' Martinez.

The Latin American Pavillion - A Performative Exercise. Texts on the concepts of ‘Fear’ in Latin American performance, and ‘Self-Sabotage’ of contemporary Latin American performers, served for the intervention at the ART WEEK as links to create an environment of audience participation at the Pavillion, in which they provide their own perception of Latin America. The Pavillion doesn’t present an artist as author, instead it uses language as a tool (both visual as conceptual), creating a fragile image meant to disappear. The link between language and politics is always present in Latin America as an exercise of power (in this case, from the audience as outsider). The process uses almost nothing, as a metaphor of precariousness and the constant lack of resources. The fragility of the gesture also encounters its deletion as an extreme act of memory loss – one of the constants in recent Latin American history. With Prem Sarjo & Alexander Del Re (Ejercicios Mosqueto / PerfoLink).





Saturday, 17 December


With Enrico Pastore



Imaginary Landscapes: Tale on Invisible Cities is a crossmedia artistic project developed by a cluster of 10 artist, and intended to create a complex performance constituted of different artistic languages (theatre, dance, video, performance, poetry) and inspired by the original text of Italo Calvino, Invisible Cities, first published in 1972. The story consists of two distinct parts divided into nine sections. In the first part which opens and closes each section, the characters are Marco Polo and the Kublai Khan. The Venetian merchant recounts his travels to the Great Khan who is fascinated, noting how in Marco Polo's tales something is missing in the official reports of his envoys. Marco doesn't use words, instead he employs objects, gestures, sounds so the story immediately becomes more evocative even if the connection between things becomes more ambivalent. Where precision is lacking there gains a wealth of possibilities: the immense empire of the Khan becomes the realm of continuous metamorphosis in which all is transformation and infiltration, all is possible and amazing. But is this empire real or imaginary? Is it a creation born of the complicity between the narratives of Marco and the vivid imagination of the Khan or is it something which really exists? In the second part of the book there are the cities described by Marco Polo. These are interspersed by the observations and discussions between Marco Polo and Kublai, who become opponents taking sides like pieces on a chessboard. Divided in the form of a catalogue of power (the Thin Cities, the Cities and the Dead, Trading Cities, Cities of Desire etc.), the cities present the construction of projects dreamt up by the men who live in them. Each city has a soul that lives in the desires and fears of its inhabitants. It's an elusive fact that only an attentive eye can capture. The story and the city. These are the issues. On one hand there are the realities of the city in its immense complexity, the sprawling city, oppressive yet rich in life and opportunities that attract and repel millions of people daily; on the other hand there is the recount of the reality which describes, imagines, changes and recreates the world.



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