PERFORMATIVE PRACTICE

ITALIANOFRANÇAIS

The ‘Contemporary Cathedrals of Vulnerability‘ within the Performative Practice

 

2024-2025: SECOND EDITION
‘Failure is an achievement. Art is loving the mistake

The ‘Contemporary Cathedrals of Vulnerability,‘ traversing through an aesthetic and ethical movement of art, arrive at the second edition held at:”

o.    PARIS, from October 3rd to November 30th, 2024, in a prestigious ‘hôtel particulier’ from the late 18th century, now the Italian Cultural Institute in Paris.

o.     ROME, from December 5th, 2024, to February 11, 2025, in one of the most prestigious historical seventeenth-century residences: Villa Altieri – Palace of Culture and Historical Memory, which from the post-unitary period until 1897 was a women’s prison institution.

 

 

FIRST EDITION ‘iosonovulnerable, therefore alive. Art is loving reality.

 

The first edition of the Performative Practice of Non-Profit Transdisciplinary Research ‘iosonovulnerabile‘ was held at the former Pontifical Prison of Velletri from September 30, 2023, to January 30, 2024, under the patronage of the Lazio Region, the Metropolitan City of Rome Capital, and the Municipality of Velletri, in collaboration with Compagnia Atacama and the International Contemporary Dance Festival ‘Landscapes of the Body’.


In an era of permanent crisis, where the international order is in decline and the laws of the planet have slipped out of control due to excessive exploitation of natural resources, the identity of today’s artist is well defined, albeit interpreted with alternative approaches and methods: HYBRIDIZING, trespassing between languages and cultures, while maintaining a sensitivity attentive to the context and its limits.
Remaining poised between different creative categories and experiencing a certain unease regarding definitions represents the journey of contemporary art, inheriting the baton from early 20th-century movements like the Bauhaus. There is a need to insist on questioning paradigms that the new projectuality of contemporary art must confront, escaping every form of comfort zone.
This research focuses on unusual perspectives guided by the concept of TRANSDISCIPLINARITY, aiming to understand the complexity of the present world. We move in the unusual space of INTERSTITIAL ZONES between painting∞sculpture, influenced by the languages of cinema, dance, music and photography, theater, publishing, in order to continually re-signify exhibition spaces and experiment with relational ‘performative practices’ that reveal connections, affinities, and possible developments with spect-actors.
This is the exciting necessity in the ongoing expressive search for an authorial dimension that through the ‘COSMIC-FABRIC-WEAVE’ of ‘COMMUNICATING-ARTISTIC-ORGANISMS’ is based on ‘CO-EXISTENCE’ in creating irregular performative loops, conceived as places of encounter and community, spaces of generation and active knowledge, not just for consumption.
It is a reversal of trend in art, moving away from exhausted exclusive castes and self-referential systems now out of breath. Here intertwine the primal themes of ‘BODY-BEYOND-MATTER’, ‘VULNERABILITY’, ‘NOMADIC-ETHICS’, and ‘CONVERGENCE-AESTHETICS’ based on the creative mechanisms of Ruins, to broaden and divert contemporary demand from what is propagated through the para-verse.
With this neologism, in this context, we refer to the incessant degradation of virtual worlds towards the superficiality of mirror worlds in our daily lives.
Major international exhibitions of contemporary art are experiencing an increasing use of art as an abstract entity separated from reality. Art seems to be increasingly confined only within ideologically coded spaces like museums, fairs, and galleries. Claudio Parmiggiani, among artists with an international voice, raised an interesting question: What can be built today in art, starting from the offensive, fashionable and festive optimism of an art world in talcum powder that, while everything burns, points us towards Disneyland as a perspective?
As a response to the dramatic current situation, there is a felt need to artistically re-react by escaping from pre-defined anesthetic spaces that relegate art to the margins, and once again attempting to ‘bring forth the world’, as Alighiero Boetti affirmed, through ‘performative practice’ capable of re-establishing the ‘contemporary cathedrals of vulnerability’.
The ‘iosonovulnerabile’ research in these spaces aims to create a potential experiential environment, a meditative space characterized by crystalline nudity, in order to recover a ritual dimension open to the other, where artists and participants make exhibition spaces into places where a process of unparalleled relationships develops that can reveal a shared lexicon.

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