IBRIDAZIONE 1 - BODYBUILDING
“Ibridazione 1 - Bodybuilding” is one of the most known and iconic actions of Giovanni Morbin. During the performance, the artist will cement part of his arm into a wall, to which he will be attached for eight hours. The event reveals the attempt at hybridization with architecture, tools and lawns, through which Morbin strains the statute of bodies and objects and links them with the same
action plan, whether it is political or poetic. In the case of “Ibridazione 1 -Bodybuilding”, the body experiences the immobility of a building that provides itself, in turn, with a human appendix.
Giovanni Morbin (Vicenza, 1956) studied Painting at the Academy of Fine Arts of Venice. In 1978, he started working on performance and, at the same time, he became interested in building objects oriented to everyday action, by according them the status of instruments (Strumento a perdifiato, Scultura sociale, DNA, L’angolo del saluto, Prêt-a-porter, Fioriera, etc.).
In 1995, he founded SUPERFICIE TOTALE, container of its actions.
CANDY SHOP - THE CIRCUS
Candy Shop is best known as a dirty rap hit by 50 Cent. Candy Shop - the Circus is a performance reworking the games of power that are embedded in the rap songs into lullabies, narrating the story about beauty, gender and the mundane.
Candy Shop - the Circus is an opera for seven female performers, men choir, female drummer, a marching band, a combination of hip-hop texts, electronics and video that invites for a collective meditation on power hierarchies.
Local performers with Lina Lapelyté: Coro Polifonico Castelbarco - sez. maschile (Paolo Beltrame, Stefano Bertagnolli, Giordano Bordoni , Dante Cavazzani, Lorenzo Fumanelli, Ervino Gonzo, Giorgio Modena, Federico Mozzi, Lauro Tessaro, Riccardo Valentini, Direttore Luigi Azzolini), batterista/drummer (Viola Fai).
Percussionists : Giacomo Meroni, Khadim Ndome, Daniele Badioni.
Her performance-based practice is rooted in music and flirts with pop culture, gender stereotypes, aging and nostalgia. Throughout her artistic career, Lapelytė has explored various forms of performativity, crossing genre boundaries while entwining folk rituals with popular music and opera formats.
STAGING: solo, is an excerpt of Maria Hassabi’s live installation STAGING (2017), previously exhibited at the Walker Art Center, Minneapolis, MN and documenta 14, Kassel, GE. STAGING unfolds as a progression of encounters, installed in multiple sites throughout a building. Apprehended in parts, the accumulation of bodies, colors, sound, light, and architecture, serve as reminders of a fractured event that is continually in progress - always staging, and which only finds completion in its “staged” form.
In STAGING: solo, the iteration presented at Centrale Fies, a single performer, moves at a measured pace, morphing the body at slow, sometimes imperceptible velocities, enacting a two-hour choreographic cycle. The sole figure, depicted away from the larger scale work, occupies a seemingly unbroken time while subtly negotiating a detailed choreographic script.
Maria Hassabi (Cyprus) is a New York based artist and choreographer. Her performances and installations are presented worldwide in theaters, festivals, museums, galleries, and public spaces including documeta14 (Kassel); Museum of Modern Art (New York); She holds a BFA from California Institute of the Arts.
The idea came when a photographic performance of 72 poses was accidentally discovered, produced by Mario Mieli probably in Rome at the end of the ‘70s. Mario Mieli will appear as guest artist during one of the nights of LIVE WORKS Vol.6 with a multimedia installation with projected images. This work points out the ante litteram queer attitude of Mario Mieli that has highlighted in his own way several differences in comparison to what it used to happen in the early ‘70s. In the part in front of the installation, there are autograph writings of Mieli and some letters sent to Franco Buffon dating back to the years 1970-1981.
Mario Mieli was born in Milano in 1952. In 1971, he was one of the founders of Fuori, which he left in 1974, when the association federated to the radical party. In 1976, he created the Collettivi Autonomi Milanesi and founded the journal Il Vespasiano degli omosessuali. In the same year, he staged La traviata Norma. Ovvero: Vaffanculo…ebbeni sì! In 1977, Einaudi published his dissertation in moral philosophy Homosexuality and liberation: elements of a gay critique. He died by suicide in 1983. Few months after his death, the founders of Circolo di Cultura Omosessuale Mario Mieli, decided to give to the association the name of the friend.
Franco Buffoni, a friend of Mario Mieli, started together with him writing poems in the same Milanese collective and saw the birth of the Gay Liberation Front in London.