Center for Archiving and Promotion of Performing Art – CAPPA (Italy)
There are no certainties outside of our body. The body, its extreme malleability, the mockery of gender distinctions, of aesthetic ideals. Body Art created a crack, destroying the superstructures built around the body, riding the years of sexual liberation, reflecting on the limits of the body itself, the impossible search for its total control and, consequently, of the surrounding space. For over ten years CORPO Festival of Performing Arts, curated by Ivan D’Alberto and Sibilla Panerai, has been studying the body through the eyes of artists who, nationally, but also territorially, have enriched and continue to enhance the controversial and fascinating language of performance and live art.
The BODY is a medium.
It is a naked palette on which human feelings are transformed into sounds and colours, and a painful memory can be elevated to collective memory. It is the mangled body of migrants carrying a dream of rebirth.
The performative experiment that mixes body-art and interaction design. The aim is to transport the audience into a synaesthetic, immersive dimension, where the performer becomes the mediator of an unusual experience of colour.
The tragedy of November 23, 1980, which shook Irpinia killing nearly three thousand people, is remembered through the use of a white sheet, charcoal and the artist’s body. Ninety seconds to relive the terrible tragedy.
Kyrahm e Julius Kaiser – (A)mare Conchiglie, 19:43, 2015
A(mare) Conchiglie showed of the fifth Biennale d’Arte Contemporanea di Anzio e Nettuno. Elderly Italian and African migrants share their stories. The video was screened in Universities, Academies and festivals in many parts of the world.
The BODY is atonement.
Redemption and identity pass through the body, which survives a suffered daily life. He can strip himself of a legacy that does not belong to him and at the same time cluttered, opening the doors to a conscious present.
In this action, the artist repeats like a ritual the gesture he performs three times every day to measure the glycemic value, exhibiting the most precious organic liquid, blood. He thus reflects on the social taboos of illness and the transience of life, overcoming the membrane of his body and rediscovering his own identity beyond suffering.
A poetic gesture with a psycho magic significance to free oneself from transgenerational ties; by removing the invisible loyalty that binds us inextricably to our ancestors, we are freed from their judgment and from a psycho-emotional heritage that does not really belong to us.
Marco Casolino – Action Albatro (wings and faith), 5:12, 2012
Inspired by the famous poetry of Baudelaire, the performance materializes the condition of the poet in a journey that wants to demonstrate how the memory of the experience can become cumbersome.
The BODY is cyclical.
It is a book open to human history, which tells about mythology, popular culture and today’s dilemmas. It is the mirror of feelings that are always different and always the same in an endless cycle.
Noema Pasquali – The Inner Eyes of Tiresia, 12:03, 2019
The Inner Eyes of Tiresia (12’03 ”) – BODY Festival of Performing Arts, 2019 A fusion of Body Art and narration that brings to life the metamorphosis of the myth of Tiresias, blinded by the gods, on the artist’s body, who in return gave him the power of clairvoyance.
Parade – CORPO Festival of Performing Arts, 2019 The artist recalls the figure of the Warrior of Capestrano, the androgynous figure of the ancient Piceno people, wearing a breastplate faithfully reproduced in crochet. In a circular dance on itself, the artist recalls the dervishes and the Abruzzese folk tradition, weaving a link between old and new, between popular and contemporary art.
Presented in 2009 in Futuroma and Artcevia, in RoseRosse the artist immolates himself to the ultimate sacrifice, tearing his body and voice apart. Devoured, explored, named red roses invade the scene, the artist penetrates them by eating them and suffering their thorns. A sacrificial body immolated to the Act.
CAPPA Center for Archiving and Promotion of Performing Art was born from the four-year experience of the Museum and Archive of Contemporary Abruzzese Artists (MAAAC), based in the medieval Castle of Nocciano (PE), directed by the curator Ivan D’Alberto and the President Giuseppe Di Meo. Since 2010, the MAAAC has mainly dealt with investigating and telling the most avant-garde aesthetic languages to the regional and national public, with particular attention to performing art. The research work carried out by the technical-scientific committee of the MAAAC has given rise to CORPO: Festival of Performing Arts, a traveling exhibition that in 2012 won the mention of MIBAC as a project of particular research interest in the field of contemporary art.
CAPPA was born with the intention of promoting the performing art produced in Abruzzo and Italy, but also to encourage the professional growth of young artists and to raise public awareness of contemporary art, combining exhibition and educational activities and documentation services on visual arts.
