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By then it had already been echoing around inside me for years, telling me the truth about love. (Love is My mother watched him walking down the street that unexpected rediscovery of love in the middle of life's journey is.
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But those words also contain a different kind of meaning, a political one, which brings our attention back to present times and speaks of the importance and responsibility of individual action. It reminded me that the space of art is not separated from that of real life. Among the many projects that progressively enriched the life of Centrale Fies, Live Works is a platform dedicated to live contemporary art practices. It gathers artists with various backgrounds, selected by an open call, and give them the opportunity to stay at Centrale Fies for a ten-day residency, during which they start developing a new project.

At the end of the residency period, they present the works in a three-day live program, that officially inaugurates the beginning of Drodesera Performing Arts Festival. The artists can also go back to the power plant in the months that follow for a second residency phase, to continue working on their projects. The participating artists draw a broad geography, which expands across the five continents. He explained to us that Live Works was born in from the ashes of the Premio Internazionale della Performance, a national award dedicated to performance art, organized by Galleria Civica di Arte Contemporanea of Trento together with Centrale Fies, in the years between and It is the urgency to fill a void that motivates the creation of the project: the lack of a space and a focus dedicated to investigation and promotion of performance art and live art practices in Italy.

The choice of a name, Live Works, able to embrace various kind of researches, reveals the specific intention of the curators, that is the aim to deepen and broaden the concept of performance art, beyond the constraints of any existing classification or category. First barrier to be dismantled, that which separates performance art, as a practice belonging to the realm of visual art, from performing arts and theatre. This purpose has a specific meaning and relevance in the frame of Centrale Fies, it reconnects with and develops an attitude that has characterized the work of Barbara and Dino for years.

They have always tried to break down the distances dividing distinct artistic fields and to create a space for meeting and experimentation. Since the beginning Drodesera Festival has hosted artists from both theatre and visual art fields, and when the Fies Factory project was launched in , the roster of artists who joined it included Anagoor, who won the Silver Lion at Venice Theatre Biennial in , as well as Francesca Grilli, one of the artists exhibiting in the Italian Pavilion at Venice Art Biennial Those years saw the incursion of art into life and, vice versa, of life into art.

Breaking with tradition meant first of all tearing down the barriers that separated the arts. The movement of interaction between visual arts, theater, music, poetry, video and cinema which animated that period, opened a way that had never been taken before, and gave life to new hybrid art forms. What happened in those and the following years is already history. Problem is that translating life into history always implies some sacrifice.

Books and manuals usually tell the story of separate traditions for separate art fields and disciplines, but today, even more than yesterday, distinguishing from a formal point of view a performance by a visual artist from one by a choreographer or by a theatre company, is often tricky. Researches, influences and trajectories have multiplied and intertwined over the years.


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Artists today have even overcome the concept of interdisciplinarity, arriving to a new condition that have been defined as post-disciplinarity by Eva Neklyaeva and Lisa Gilardino , artistic directors of another important performing arts festival in Italy, Santarcangelo dei Teatri Festival. According to their vision, the post-disciplinary approach has abandoned the reference point of the discipline, or better, has made it superfluous.

Disciplines are no longer the space of departure or arrival, because the urgency of communication is the new drive that pushes artists to appropriate multiple practices at once. Obviously, there are still artists who align their steps along the path of a certain discipline and choose to operate in a more canonic way, but an increasing number of artists proceed on independent and tangential directions, breaking rules and categories. These kind of practices are to be found at Live Works. In this regard, some words pronounced by Alessandro Sciarroni after winning the Golden Lion for Lifetime Achievement at this year Venice Dance Biennial are significant.

He has taken part in Drodesera Festival several times, and in Centrale Fies decided to present again his first work, Your girl , ten years after its creation. I would especially like to mention those who, because of their radical ideas, were excluded from the official circuit and the awards: thanks for not making compromises, not even when the public left the room or when it was said that what you did was not dance. Live Works fosters hybrid researches and grounds in the awareness that performance art does not exist as a circumscribed space, it is more an erratic presence, that relates to and crosses varied artistic languages and media in its wandering.

Frangi clarifies that the artists were not selected because they are interested in a particular topic or because they share a certain type of style. What they have in common is rather a working method. During each evening guest performers accompany the presentation of the projects that won the open call.

The guest artists are chosen and invited by the curators because they represent a model of format Live Works is interested in. Among this year guest performers, the artist duo Invernomuto presented Black Med , a research project that is also a DJ set, which investigates themes such as the use of technology, the phenomenon of migration and the possible communication between different species, through a collection of sounds and music from the Mediterranean area.

Viewers can sit and read the text slides reporting the informations gathered by the artists, or they can just dance. Life is hard and then you die — part 3 by Juli Apponen is an autobiographical performance in the form of a lecture; the artist, who works as filmmaker, choreographer, performer and teacher, sits at a desk in front of the audience and tells her personal experience of transition from male to female sex.

The Otolith Group presented the video The third part of the third measure , born from an encounter with the avant-garde composer, pianist and vocalist Julius Eastman. In One pitch: birds for distortion and mouth synthesizers , experimental singer, composer and performer Sofia Jernberg explores the possibilities of the voice beyond the sounds and techniques of conventional singing.

Before the guest performers, each night three of the nine projects taking part in Live Works are introduced to the public. They are not finished works, but rather a first elaboration of potential works. Nevertheless some of them already show a formal completeness and complexity, such as Hypernating by Cristina Kristal Rizzo e Charlie Laban Trier, that explores the possibilities of a narrative voice as a sensitive material.

The voice evokes stories and bodies and shapes spaces halfway between the physical and the visionary, able to be inhabited by our imagination and our memories. In the darkness of the stage the bodies of the performers move with minimal gestures, manipulating technological objects, a mobile phone, a TV screen, which have lost their function to become something else. The artists physically mold visions as luminous gleams, that immediately are reabsorbed into a dark viscous matter.


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    • Pink Muscles by Astrit Ismaili e Magdalena Mitterhofer explores body politics and aesthetics through the deconstruction of the songs of singer, activist and former pornographic actress Cicciolina. The performance builds a sequence of elegant images through the use of the voices and bodies of the performers plus some scenic tools, and succeeds in addressing with an admirable delicacy a theme that is as hype as it is urgent.

    Starting from the narration of her personal experience, the artist investigates the way Western patriarchal narratives have generated a stereotyped and heteronormative view of femininity and of oriental traditions. Rehema Chachage presented Scents of identity, that is a performance but also an environment, made of simple elements: gestures, photographies, objects, smells.

    Others projects appear more evidently as initial manifestation of a broader research, that could potentially develop in various directions.

    I believe that no journey is complete until you find out the main reason of why you are doing it.

    The artist tries to insert the use of her body into the performance, and breaks the frontality of the setting by walking among the public, making circular gestures. Kouagou proposes hints of reflection around the ambiguity of language and of enunciative positions, and attempts a work on the space through the use of his body and some basic elements, such as tape and a chair. Some of the artists focused on exploring media and practices they had never tried before. With Zeppelin Bend Katerina Andreou tests the expressive possibilities of aerial acrobatics technique, bringing to the stage certain artistic trends and aesthetics inspired by club culture.

    While staying at Centrale Fies during the three days of Live Works, one has the feeling of taking part in an extensive open studio or in a midterm presentation of an art school. The unfinished and open state of the works let the visitors witness and be part of the ongoing creative process. This is the most important and interesting aspect of the project as a whole.

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    In the curators decided to abandon the prize format. This allowed a redistribution of funds to benefit all the artists selected with the open call, not a single winning project. But, above all, the choice implied a change in the meaning of the residency program itself. Not being influenced by the necessity to present the best work or at least a work as complete as possible, the artists have gained a new and precious freedom of research and experimentation.

    Free School of Performance is the name of the ten-day residency that precedes the public presentations, and indeed an actual pedagogical program is offered to the artists. The program alternates moments of individual research with collective critical sessions, studio visits and reading groups, and the participants are followed not only by the curators but also by a board of international professionals. They are provided with all technical facilities and have the opportunity to constantly discuss with the staff of technicians, who, as pointed out by Frangi, is the first real curator of the projects.

    This community dimension and the constant sharing of knowledge and practices generates a horizontal and anti-authoritarian model of learning. Live Works shows itself as a safe space where art can escape the obligatory production mechanisms imposed by the market even on intellectual work. It proposes a model of hospitality and sustainability of artistic research, and an idea of art also as social practice. In some aspects this model is linked to an important tradition of artistic pedagogical institutions, that starts almost a century ago with some cutting-edge teaching experiments, such as the Bauhaus and or the Black Mountain College.

    I would like to close these considerations by quoting a few words of two of the protagonists of those extraordinary experiences, which seem to fit well with what we are talking about. This was my first time at Centrale Fies, my reflections around what this place does and what this place is may sound a bit naive, considered the fact that many calls this place home. Still, I had the privilege to enjoy with a pristine curiosity that made me discover this place at once. Centrale Fies Art work Space is an independent centre for residencies and the production of contemporary performing arts, currently located in a still partially active hydroelectric power plant, in Dro, in the Trento province in Northern Italy.

    The cultural enterprise that Centrale Fies is now is the result of almost forty years of history, lived by the founders Barbara Boninsegna and Dino Sommadossi with collaborators and friends. Before we romanticize about its past, Fies today is first of all a hosting facility that welcomes and nourishes experimental practices, encourages research and facilitates production.

    In contrast with many similar art institutions or facilities, Fies conserves this allure of being profoundly part of the surrounding territory. Probably because the partly active power plant is still taking in water and generating electricity, but also and mostly because the project never left Dro, but rather took the world in there, generating a less literal energy, nonetheless as powerful. The resident artists presented draft pieces that altogether gave an overview of the trends and tendencies of contemporary performative arts, from lecture performance to dance.

    The unfinishedness of the works reveals the pedagogical drive of the platform; initially a competition, today an expanded idea of award , with no professional jury nor a winner, the idea behind Live Works is of a long-term activity.

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    The selected projects have a first 10 days residency , that includes curatorial support, access and guidance through all technical facilities and a production fee. The program provides a theoretical framework—the Free School of Performance , with studio visits, critical sessions, reading groups, discussions around specific themes to redefine the very concept of performance, and informal encounters to foster the production of each project.

    Live Works is the embryonic stage of the hypernatural entity that Centrale Fies is at large.

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    In the words of curator Simone Frangi, the focus is not on specific theme nor medium specificity, but rather in offering and providing actual research tools to artists and their practices. The initial intention since the first edition in was to give space to performative arts, as for once there was a lack in the Italian artistic landscape, but also performance has usually been considered somehow ancillary compared to other disciplines. Although bringing in new practices, the breaking point of Live Works was a certain skepticism towards innovation—it is not always about seeing something new, as performance art is already something that breaks with tradition, that navigates in between disciplines and labels and resists stereotypes—while also an attempt to offer something other than the usual Eurocentric aesthetics and trends.

    Live Works is a platform meant as a safe space, even in the moment of presentation allows the existence and sharing of this unstable material that contaminates the whole Drodesera festival, and protects the artistic product in its potential for development as an open chance to understand otherwise. Katerina Andreou, Zeppelin Bend. If to navigate is to know the place, going in circles make us go mad. Through this process of weirdly exotic imitation we witness a westernized body being guided by a orientalized body in an astonishingly effective mirror effect. The first night is wrapped up by the guest performed Invernomuto, and their work Blackmed, an almost three hours playlist of music collected throughout and around the mediterranean area, that necessarily puts compelling topics at stake, such as migration and respective influences, technology and interspecies communication, thus turns the Mediterranean sea into a connector and container instead of a border.

    Rehema Chachage opens the second day with a deep sensory experience, rich of suggestions given by simple gestures and symbolic practices like suing a cloth and lighting up incense. Chachage delivers stories through rituals, demonstrating the significance of oral and alternative histories, and delicately takes us someplace else. By telling difficult experiences, the artist brings forward issues of identity and generously offers a way through by sharing. In the hypnotic movement, many images shape in our eyes—I guess it becomes a very subjective experience, if one gives themselves to the meditation: classical sculptures, renaissance paintings, orbiting planets in climax.

    As guest performers, The Otolith Group has sent their movie The Third Part of the Third Measure , on the militant minimalism and black radical aesthetic of avant-garde composer, pianist and vocalist Julius Eastman.