Il nome del mondo è marea is a performance that interrogates the politics of care for worlds deemed infertile. Through radical imaginative exercises, the walk leads the audience across alien farmlands that prelude to potential yet real worlds. There the emerged land is a specter of the sea; a ubiquitous salinity confuses genealogies, and the future and the past blur into a continuous now.

The ingestion of a fantastical Algarium as a closure of the performance invites a reflection on digestion as a geographic and conservation practice where amphibious landscapes and kinship re-emerge, persist and redistribute.

https://tba21.org/sapidsoilthenameforworldistide

Concert for Hydrophone and Submerged Voices. 

Starting from the idea that water is the element that best retains sediment and ghosts, displacing them and allowing the lost memories of places to proliferate, this project seeks to bring to the surface the submerged aspects of oral knowledge—marginalized and silenced by dominant narratives, always written by the victors.

Minor stories—embodied, unhistoricized, and therefore mysterious—are activated within the landscape through an expanded dramaturgy, drawing from ethnographic cues and a collective act of speculative fabulation. The intent was to assimilate elements gathered through site-specific practice into a single interdisciplinary and transformative gesture.

The sonic material—voices and field recordings—was captured between the Abbey and the banks of the Nera River. The costume was inspired by the observation and study of the metamorphosis of the dragonfly, an inhabitant of the river. The text is drawn from magical formulas of the local witchcraft tradition, which have survived the neo-rationalist project of invisibilization.

Through the reactivation and rewriting of place-based memory, new impulses are released—fueling the struggles to come.

Antonio Tagliarini returns to dance and invites Gaia Ginevra Giorgi to engage in a dialogue on stage through a sound-performative action.

In this work, whose title references the latest novel by the young Japanese writer Maru Ayase, Tagliarini explores a somatic flow in which the body reorganizes and investigates alternative ways of existence, reaching the threshold of transformation. Dance, in intimate relation with live sound, is exposed to possible interruptions, interferences, betrayals, and surprises.

The stage is haunted and haunt: a swarm of affections and a complex web of relationships, the material vibrates, balanced on a fragile equilibrium where space, time, and the thread of discourse are constantly renegotiated. Like in a forest, like in a game, the performers’ bodies move through trial and error, reposition themselves, proceed in fragments, reorganizing forms and thoughts in the simple yet subversive gesture of crossing through and being crossed.

https://triennale.org/eventi/la-foresta-trabocca-antonio-tagliarini

“À la Recherche du temps perdu” is a performative project that explores embodied memory and the relationship between body, time, and space. It is based on a repetitive practice: in 2022, Est Roman Coulon began transcribing the novel In Search of Lost Time onto loose sheets of paper, which he then glues together, creating an ever-longer leporello. On the back of each page, he writes the date and the location where the transcription takes place. This paradoxical object, both unique and devoid of value (its value lies exclusively in the time spent on its creation), serves as a device of archiving that preserves the memory of the subsequent places where it takes shape.

Femenine is a place of listening and action, of discovery and beginning, a point of solitude and encounter. A queer space, a microcosm created for and by the music of Julius Eastman. A landscape that slowly comes to life and takes shape through a total dependence on music.

An African American queer composer and performance artist born in 1940, Eastman was a prominent figure in the musical avant-garde. Throughout his career, he highlighted the difficulties of acceptance and integration in New York society during the 1970s and 1980s, fiercely asserting his identity.