October 2020
As a result of new restrictions imposed by the health emergency, all public appointments after Nov. 1 can no longer be held in the prescribed form.
Imagined projects with Micol Roubini (Nov. 5 and 21), Rossella Menna and Armando Punzo (Nov. 7), The season of mutual speech curated by Isabella Bordoni (Nov. 21), DOM- (Dec. 3) and IMÀN (Nina Fiocco, Ana Gallardo, Barbara Lazara) are kept active in their processes and relationship potentials of each.
We invite you to follow the trials and testimonies of the projects listed above on the page dedicated to Peripheral in its new festival version “at the time of the pandemic.” PERIPHERAL CLOSED VERSION
We thank the public and all Peripheral supporters for their support during these difficult weeks of organizing and implementing the project.
Federica Rocchi, Serena Terranova / Amigdala Collective
→ DOWNLOAD THE PROGRAM HERE
ZETA ARCHIVE
Antigone Requiem
→ San Cataldo Monumental Cemetery
Saturday, October 3
– near sunset, 6 p.m.
– at follow, meeting with Enrico Piergiacomi, historian of ancient philosophy and theater scholar c/o OvestLab
Sunday, Oct. 4
, near sunrise, 6 a.m.
The pharmacopornographic state has behaved like a neoliberal Creon, preventing us from burying our dead because they would become harmful to a community that dreams of being immunized. We, the bastard children of Antigone, demand care and celebration of the bodies of our beloved covid patients, both living and dead.
Paul B. Preciado (
Libération/International
–
June 20, 2020)
The city is sick at your behest, cries Tiresias to Creon in the final part of Sophocles’ tragedy. Creon arrogantly replies: The contagions of heaven I do not fear them. This is the explosive lexical nucleus around which revolves an affair – Antigone’s choice on the burial of her brother’s body – that repeatedly tends to exorbit from the ancient track and reflect ongoing conflicts: Mediterranean, Amazon, Turkey, pandemic panic, to name the closest examples. Antigone continues to be tragic
inland sea
,
our sea
blood-red, a moral place where we are no longer able to take responsibility for giving burial while the plague contaminates the land.
In this anomalous year, at dusk and dawn, as Antigone, we will travel to San Cataldo Cemetery in Modena for a theatrical action REQUIEM ANTIGONE, a desolate march, a grieving procession, a cathartic cultural ritual of collective mourning processing to symbolically bury the Coronavirus dead, accompanied by Patrizio Barontini’s musical score performed on cello by Francesco Canfailla.
dramaturgy and direction Gianluca Guidotti and Enrica Sangiovanni
musical score Patrizio Barontini
With Gianluca Guidotti, Enrica Sangiovanni, Andrea Sangiovanni, Alessandro Vuozzo, Elio Guidotti, Antonia Guidotti
cello Francesco Canfailla
les libellules tailoring studio
photo Franco Guardascione
DOM-
Foreboding garden
→
WestLab
Tuesday, October 6
– 3 p.m. to 7:30 p.m.
Friday, Dec. 4
– 3 p.m. to 7:30 p.m.
The PRESAGE GARDEN project is a series of five workshop meetings open to the public to create a collective civic garden. Days of reflection, study, and observation of the landscape context of an uncultivated field adjacent to the former boulder field that laps OvestLab, the former machine shop transformed into a multidisciplinary open space in the heart of the West Modena Artisan Village. Building a garden, a place to meet and expose oneself, is a form of questioning addressed to art, to the different languages that investigate issues of dwelling, and to the very cities in which we live; but it is also the questioning of a concept of ‘nature’ that is ceasing to exist-or perhaps never existed. The first four appointments, spread between the months of October and March, last about three hours each and will conclude with a week-long workshop to complete the work in the garden and plan a first inauguration party-ritual in spring 2021.
Free workshop, open to all and everyone, no age limit.
Info and registration:
[email protected]
MASQUE THEATRE
Kiva
→ Drama Theater
Friday, October 16.
– 9 p.m.
Saturday, October 17.
– 6 p.m.
– To follow, meeting with Lorenzo Bazzocchi, Masque theater, and Raimondo Guarino, professor of Disciplines of the Performing Arts, University of Roma Tre
Kiva is the name by which the Pueblos Indians designated, still in the early 20th century, the secret room for initiations. An underground place, inaccessible except to antelope and snake clan leaders, the kiva housed and guarded rattlesnakes captured alive in the wilderness and called here to participate in what Aby Warburg called “The Snake Ritual.” Subjected to ablutions and washings with waters soaked in medicinal substances, the snake was first plunged with its head into the jar and then hurled violently onto the floor of the Kiva, which housed a basorielvo made of sand, a kind of mandala, depicting cumulinembi and serpentiform lightning bolts.
Kiva is Warburg. A journey into the world of the Hopi Indians of New Mexico turns into the traversal of the history of human civilization. In the conscious creation of distance, in the distancing between self and world, Aby Warburg glimpses the fundamental act of the very condition of being human.
On the concept of distancing the self from the world we are working to build Kiva.
Undergoing a transformation, consciously welcoming a transformation of self, is the key to accessing a state of clairvoyance that places us close to reality and at the same time far enough away from it to be able to relate to it: a distance of proximity.
Warburg tells us of the willingness on the part of the Hopi “to make their own a natural phenomenon in its living, analogical form. Lightning is attracted through a mimic appropriation.”
Kiva, from a secret chamber of initiations, thus becomes a mental place.
In it thicken the specters of a humanity that seems to have returned to life after years of forgetfulness. It is the land always longed for, ultimate destination for the redeemer, dark precursor that draws on unknown forces acting as a “seismograph” to sense the tremors of history. Since I entered it, whenever I bend down, I see a pair of dark legs coming down the staircase.
To inhabit it, one must enter it suspended, chasing one’s limbs through space, creating signs of an ancient idiom.
With: Eleonora Sedioli
conception and lighting: Lorenzo Bazzocchi
technique: Angelo Generali
costumes: Mood Indigo_BO
press office: Tatiana Tomasetta
production: Masque theater
ENRICO FEDRIGOLI
ES – Photographic exhibition
→ Drama Theater and Modena West Pavillion
Friday, Oct. 16 through Friday, Dec. 4
By appointment at 059.8777673
The exhibition of photographic plates originated as a stand-alone work from the meeting between well-known stage photographer Enrico Fedrigoli and Eleonora Sedioli. Strictly black-and-white prints, they draw sap from the performances of Masque theater
Just intonation
e
Pentesilea
, and they are made with the view camera technique, which allows chiseling the photographic material to such an extent that it returns to the eye the grain of bare skin screeching on the iron of harp strings.
“Time is the first tool for maneuvering the optical bench. Each exposure time is like a brushstroke and corresponds to a quality of color. The view camera is like a brain. A container with a hole in it. Nothing else. Through observation and exposure time I wanted to understand what was behind the depiction, what the eye could not see. So I started to work on the invisible.” Enrico Fedrigoli
The co-presence within the same photographic shot of multiple layers of the image draws an anamorphic movement that shapes the dismembered harp. A woman’s animal body is revealed sometimes in the form of a leg, sometimes in the form of a muscle, and sometimes in the form of a scapula sticking out of its usual housing. Limbs like bow arrows outstretched, bodies in becoming-beast. They are certainly not prints to look at, but as their creator, Enrico Fedrigoli, says, to touch.
The exhibition is set up at the same time as the show
Kiva
by Masque theater
MICOL ROUBINI
The road to the mountains
→
Astra Cinema
Thursday, Nov. 5
– time to be determined
Film screened as part of the ViaEmili@DocFest festival
Clandestine acts for movable land
Screening of the film flash mob made along the Via Emilia in October 2020
→ OvestLab
Saturday, November 21
– 9 p.m.
A project by Micol Roubini realized in collaboration between Periferico Festival (Modena) and Sette giorni per paesaggio (Piacenza) by EN Collective Laboratory
Imagining a kind of site-specific and anarchic performative gesture in relation to this period of uncertainty of film enjoyment and the relationship between work and viewer, the idea of a path of fragmented and itinerant screenings of his film
The Road to the Mountains
. Hidden city locations, remote and wild spaces will serve as improvised screens for short video tracks along the road between Modena and Piacenza, retracing an idea of walking cinema and clandestine. When the journey is over, the film will be recomposed into two screenings in the two cities.
With the valuable collaboration of: ViaEmili@DocFest; ConCorto film festival; Palazzo Magnani Foundation; Municipality of Reggio Emilia; Register of Italian Monumental Trees, Piacenza Land Reclamation Consortium.
ROSSELLA MENNA / ARMANDO PUNZO
Book presentation. An idea bigger than me (Luca Sossella publisher, 2a edition)
→ WestLab
Saturday, November 7
– 5 p.m.
How to find the strength to cope with an existence that unfolds to the future without having any certainty that makes sense?
Imagine that there is someone who is dreaming of you right now, dreaming of you as you imagine you can be to your fullest potential. It is your job to follow up his dream, to find a development. Don’t you think it is good to think that we depend not only on ourselves and our own will but also on the dreams of others?
In 1988 Armando Punzo, director, playwright and actor, crossed the gate of Volterra Prison, where he founded the Compagnia della Fortezza, the first and longest-running experience of theater in a prison institution. In 30 years he has transformed a place of punishment into a center for cutting-edge artistic research.
On the strength of a research on the relationship between limits and resistance conducted in a place that is a metaphor for the extended prison in which we all live, in 30 years of performances the artist has won the highest Italian and European awards and recognition, making the Fortress an indispensable reference in the history of contemporary theater. Out of a desire to question the deeper meaning and personal, social and political implications of a radical choice came Un idea più grande di me, the artist’s autobiography, the result of a long series of conversations with writer and scholar Rossella Menna. The result of eight years of dialogue, and two years of writing, the volume is not (only) a book about theater, nor the unfiltered restitution of a testimony, but a narrative work, a generational confrontation, a kind of sui generis training novel that calls into question many of the foundational issues of art and life.
SEASON OF MUTUAL DISCOURSE
a project curated by ISABELLA BORDONI
November 6 / 29, Modena
public poster project curated by GIANLUCA COSTANTINI
Saturday, November 21
→ WestLab, 3 p.m.
meeting with Gianluca Costantini e Tiziana Villani starting with Alexander Langer and Alessandro Leogrande,
exemplary figures
moderates Irene Aurora Paci
Season of Mutual Discourse realizes the idea of the city as a text, to think, interpret, and stand in the city and public space as in a linguistic field, a semantic field of discursive forces at play. Season of Mutual Discourse involves and invites artist Gianluca Costantini and develops three movements: the adoption of the “Sitting Next to Zaky” silhouettes; an urban poster and public posting project for a possible dialogue between the thought and work of Alexander Langer and Alessandro Leogrande [6-29 novembre]; a public and transgenerational meeting with Gianluca Costantini, philosopher Tiziana Villani, the participation of Langer Foundation of Bolzano, the conduction of Irene Aurora Paci [21 novembre].
CATERINA MORONI
BLOOM & DOOM
→ Artisan Village
Sunday, November 22
Performance for one viewer at a time, departures every 15′ starting at 2:30 p.m.
BLOOM & DOOM is an experience to communicate the emergency of climate collapse and inspireand people to act now for a possible and more sustainable future. In a middle ground between a guided tour, a party and an activist action, BLOOM & DOOM invites the public to actively participate in an immersive experience in the city. The tension is toward a poetic and infectious urban ritual that spurs us from immobility.
A wandering clan of young people will lead the audience in an urban ritual through the city. Along the way, the children and youth will impart to the audience (the adults) their knowledge about how to adapt, how to survive in a collapsing world, how to be self-reliant, how to survive, and how to keep dreaming. The clan’s mission is to travel across the city to a specific and special place (T.A.Z. – Temporary Autonomous Zone) to perform their ritual, which, depending on the specific context-will involve planting trees, reintroducing fireflies or bees. Hand in hand adults and children will traverse the city in search of meaning for the future. Children may find themselves in difficulty; adults may also find themselves in difficulty. We all are. What is the danger if the worst risk is caused by us adults, day in and day out?
BLOOM & DOOM’s field of research is contemporary environmental movements, George Monbiot’s “rewilding” and Jem Bendell’s “deep adaptation” theories, the languages of urban uprisings and nonviolent direct action movements, guerrilla art, participatory practices, and all hybrid terrains of expressive languages.
At each location BLOOM & DOOM creates a connection with the local area, each time the people who take part in the performance create a unique event.
Where possible, the performance will be accompanied by an exhibition with the aim of deepen the theme and show videos and documentation of the creative process.
“Every storm begins with a single drop,” commander Orso-Lorenzo Orsetti, partisan in Rojava.
Concept: Caterina Moroni – With the collaboration and participation of local schools, associations, artists and citizens – With the support of IN SITU ACT project, co-funded by the European Union’s Creative Europe program.
The gymnasium of language
Edited by IMÀN
(Nina Fiocco ITA/MEX, Ana Gallardo AR/MEX, Barbara Lazara MEX)
→ Participatory event at unforeseeable location and date
