FOG Triennale Milano Performing Arts
FOG is a unitary multidisciplinary project that favors the intertwining of the disciplines, focuses on the production and presentation of theater performances, pursues and significantly strengthens the production and programming of music and dance as well as the link with its surrounding space, the Palazzo dell'Arte, where the Triennale di Milano - the Italian institution dedicated to architecture and design - is located.
With this visceral self-portrait, the Italian artist Sara Sguotti stages her anguish and her pleasure. Winner of “DNA appunti coreografici 2017”, S.Solois a bodily research that stems from an emotional encounter with Baudelaire’s poem “The Dancing Serpent” and with works by Louise Bourgeois, Tracey Emin and Ren Hang.
In datamigration_1 the performance space is connected to remote geographies, in a mediatic landscape which draws on information. Through images, videos and digital streams, Giovanfrancesco Giannini takes the audience on a journey through the archived data of his personal memory.
Lorenzo Bianchi Hoesch
Square Milano is a participatory installation that manipulates its surroundings. The result of a research project developed at IRCAM - Centre Pompidou in Paris, the work guides the audience through an ambiguous soundscape which plays with the simultaneous perception of real and fictitious inputs.
In Parete Nord, experiencing dance as interlocked movements means employing it to explore what is on the outside and attempting to lose figurative boundaries – dissolving into the world. The piece is organised as a diptych: the opening part, built on the incessant and close dynamism of the performers, is followed by a landscape scene, inspired by the “geographical disobedience” that every mountain territory brings with it.
Duetto in ascolto
The young Italian choreographer Camilla Monga collaborates with the composer Zeno Baldi in a duet that employs attentive listening to explore processes of choreographic and musical accumulation. Every visual and aural stimulus becomes a recognisable sign to be turned into pure sound.
Deserto digitale is a choreographic composition dedicated to the revolutionary music of Edgard Varèse and inspired by the piece Déserts. The composer’s experimental research is at the core of the performance, conceived as a visual and dream-like ritual between suspension, violence and catharsis.
Animale is a powerful and poetic work by the Italian choreographer Francesca Foscarini, winner of the Danza&Danza 2018 prize for emerging artists. Created for the French dancer Roman Guion, the solo – which premiered at the Venice Biennale in 2018 – is a choreographic jewel on the relationship between human and animal sensitivity.
“Deposition” is a term borrowed from physics: it refers to the process of turning volatile material into solid matter. In this hypnotic and evocative solo piece, artist and performer Michele Rizzo draws inspiration from this process of transformation to present to the audience a possible reverse transcendence – from the virtual to the deeply humane and back.
From post-global to post-experimental
"From post-global to post-experimental" is a true mix of sounds: from the latest proposals of Intelligent Dance Music to the urban sounds of South American cities, via the garage rap of metropolitan suburbs and a post techno between noise music and 4/4 drum beat.
Compagnie Didier Théron
LA GRANDE PHRASE
Bizarre and exhilarating, the cycle “GONFLES / Vehicles” by Compagnie Didier Théron elevates air to motor of creation. The figures of these works are dressed in inflated latex: it is the air inside and outside the costumes that generates forms and deformations, energy and dynamics.
Agrupación Señor Serrano
The multi-award winning company Agrupación Señor Serrano presents Kingdom, an irreverent cocktail mixing bananas, King Kong, consumerism, virile choreographies, commercials, punk rock, supermarkets, growth, confusion, expansion, multinationals, shortages, coups d’état, bestiality, trap music and very macho men in an endless party.
In this site-specific work by Alex Cecchetti, the spectators are invited to walk backwards along a narrative path. With a guide walking on their side and stories of trees, plants and herbs whispered in their ears, they are accompanied in this immersive experience until they become the garden itself and realise that there are no beginnings and no ends: the path welcomes all choices.
HISTORY OF TOUCHES
In a day-long event dedicated to Alessandro Sciarroni’s artistic oeuvre, the spaces of Teatro dell’Arte are open to the public from the early afternoon, showcasing video documentation of the choreographer’s main pieces and a slideshow of his photographic works. At the same time, in the spaces of the Triennale, his dancers share with visitors practices from the artist’s movement research.
Situated in a colony of tents and performed by its spectators, this performance – in Italian premiere – questions our relationship to nature, to the other, to the concept of survival, to leisure and culture, through a series of meetings with “strangers” engaged in a scripted conversation. In Hors-Champ, each spectator enters a tent with another member of the audience – preferably someone they don’t know.
For its second edition, FOG renews its collaboration with SANTERIA TOSCANA 31, one of the main reference points of Milan’s musical panorama. On the evening of May 30, the stage of SANTERIA TOSCANA 31 will host Dewey Dell, company known for its originality, followed by the British electronic duo Plaid (Ed Handley and Andy Turner).
Deflorian / Tagliarini
Scavi is a fascinating performance of considerable historical value, devised for a limited number of spectators. Conceived alongside Quasi Niente, a piece inspired by Michelangelo Antonioni’s Red Desert, it is a public performance of the “discoveries” made by Daria Deflorian, Antonio Tagliarini and Francesco Alberici during the research and development phase of the work.
Rip it up and start again
Rip it up and start again is a show-concert-karaoke-manifesto which digs in the recent past to look at the present through different eyes and build up dissent over the idea of a “generation whose every move was anticipated, tracked, bought and sold before it had even happened” (Mark Fisher).