The 6th edition of LIVE ARTS WEEK opens the first part of its program at Manifattura delle Arti with a series of interventions linked by a subtle plot triggering a cross-link between the galleries involved.
Mattin & Miguel Prado’s project Evacuation of the Voice, proposed as a sound installation at CAR DRDE gallery, is also reinterpreted live at the P420 gallery by Margherita Morgantin and Martina Ramponi. It is an attempt to promote vocal practice as an exercise of sparring, distancing itself from the commodification of one’s identity, and eventually maturing a sensitivity towards involuntary expressions.
Mette Edvarsen, following a previous edition where he presented living books featured by a group of volunteers transformed into mnemosy, is back to Bologna with Time has fallen asleep in the afternoon sunshine, and proposes a reinterpretation of memorized texts to create a library of original editions exposed at LOCALEDUE, while looking back at us rewriting her personal text at P420.
The second night takes place at the Galleria d’Arte Moderna, the main venue of the festival, which reopens after exactly 40 years from the first edition of the Performance Week with a spectacular programming centered on resonance practices between the bodies. Nico Vascellari in an infernal setting, Scholomance (II), invites Silvia Costa, Cristina Kristal Rizzo and Dana Michel to colonize the ground floor space. Between industrial elements and organic suggestions, between blinding projections and neon technicolor tubes, the audience wanders in an Escherian procession overwhelmed by Prurient’s electronic noise wave; Vascellari appears here and there, adding imperceptible signs to its installation, while a group of Alpinists around the GAM whistle and sing while offering spirits.
On Friday, Massacre: variations on a theme, a pill by Alexandra Bachzetsis, establishes a different spatial relationship from the night before, feeling inside a theatre. Different yet, the last night will invade all the corners of the gallery with performances.
On Saturday, tension grows and explodes through the heavily physical approach of Anastasia Ax, before returning into an intimately magical rhythm with Dana Michel, who explores the limits of her wildness through a visceral language. Looking up we meet the graffiti of Kosta-Théfaine, primitive signs imported from the Parisian banlieue that we would like to see spread over the entire building, dilating the temporal perspective of the intervention with imagination.
The closure is hypnotic between Ulrich Krieger’s metal-noise sound and Valerio Tricoli’s musical landscape: both stimuli need true listening to be deciphered, listening far beyond the paradigms of the show we are normally accustomed to.
Waiting for seeing how Xing will thrill us in a year, we hope Gianni Peng will return to Bologna too, as he’s the great absent of this edition, perhaps trapped in Athens, perhaps left in Brussels, or dispersed somewhere in the big North.

Andrea Montesi


Bologna, 26-29 April, 2017