“che la mappa della primavera è sempre da rifare” [“that the map of spring is always to be drawn again”]*
Ilenia Caleo ~ Muna Mussie: a long-distance conversation.
4-5-6 september | 6:00 pm – 12:00 pm | WeGil
We begin this 15th edition by occupying once again the spaces of the WeGil, continuing the reflection that we started last year on the building’s historical legacy. We are doing it together with the audience, with the artists and allies, activists, writers, theorists, who have joined us since last year on this journey aimed at bringing back those narratives that were hidden, removed and denied by colonial and fascist history.
Among the actions that this year will try to “clear the space from ghosts” in this edition, there is “che la mappa della primavera è sempre da rifare” [“that the map of spring is always to be drawn again”], a long-distance conversation through which Ilenia Caleo, performer, activist, researcher and curator of the Modulo Arti del Master di Studi e Politiche di Genere at Roma Tre University, and Muna Mussie, an Eritrean artist active between Brussels and Bologna, accompany us in a sound guide used to re-read the memory of certain signs.
A map, empty: I will describe it to you. And then. The gesture that marks boundaries. The memory. Intimacy. Can history be redone through intimacy? A picture from the seventies: I will describe it to you. Bodies are vibrating archives. The voice as a mean.
An open conversation that continues the intervention in the spaces of ex-Gil, that tries to ask us how to re-inhabit, re-signify, problematize the signs of a colonial heritage that has always been removed.
[* from a verse by Aimé Césaire, Notebook of a Return to the Native Land ]
Ilenia Caleo is a performer, activist and independent researcher. Since 2000, she has been working as an actress and performer in the contemporary scene, collaborating with various companies and directors. She deals with corporeality, feminist epistemologies, experiments in performing arts, new institutions and forms of cultural work, relationship between art and activism. She is a teacher at Venice IUAV in Visual Arts lab directed by Annalisa Sacchi.
She works with Iaph editorial staff and with OperaViva.
Activist at Teatro Valle Occupato and involved in commons and queer-feminist movements, she grew up in the underground counter-culture scene, both politically and artistically.
Muna Mussie, Eritrean artist active between Brussels and Bologna, she began her artistic career in 1998, training as an actress performer with Teatrino Clandestino and Valdoca Theatre. From 2001 to 2005 she was active in the Open research group, a project where the desire to investigate other possibilities of being on stage began to mature. Since 2006, she has been creating fully authorial works, in which she takes care of conception, staging and interpretation, up to the recent Monkey See, Monkey Do (2012) and Milite Ignoto (2014-15). She has continuously collaborated with the filmmaker Luca Mattei and the artists Flavio Favelli, Riccardo Benassi, Sonia Brunelli, Gaetano Liberti, Irena Radmanovic, Dominique Vaccaro, Massimo Carozzi, Brett Bailey, Mette Edvardsen.
Muna Mussie’s performative work seeks precarious agreements on s-confinement hypothesis.
Ripiglini. [Cat’s cradle.]
A tale in the making
curated by Lele Marcojanni
4-13 september | WeGil – La Pelanda
Donna Haraway’s beloved “Cat’s cradle” is that game played by weaving a string between the hands to create shapes and then to break them with other hands in order to create new ones.
In this 15th edition of Short Theatre, Lele Marcojanni will pull the threads of all the refractions that the festival has, creating a video-tale built day by day and scattered in different places both online and around the city.
An experimental documentary that mixes multimedia languages, weaving the threads of what comes before, the result of exchanges, voices, texts and comparisons with the presence of an in-progress festival.
The camera inserts itself between the spaces of an open dialogue for the festival construction, and creates a story of connection points driven by intentions and trajectories through the images of the works and events in the festival’s programme.
The length of the work will grow as the festival unfolds, simultaneously on screens and walls, disseminating proximity and trying to get involved all those that are unable to be present in the festival.
Lele Marcojanni lives and works in Bologna.
It tells and develops visual storytelling projects in places and through media that best suit the story.
Lele Marcojanni directed documentaries, short films and mockumentaries that featured in national and international film festivals. Lele Marcojanni has been collaborating for years with Italian cultural realities aimed at documenting performative events. It also uses writing and is interested in editorial projects since back when no one would have imagined it: it realised Carta, two short films dedicated to Giorgio Maffei and Christoph Schifferli, among the most important collectors of artists’ books in Europe. Le città hanno gli occhi (The cities have eyes) (2016) is an exhibition project that collects the choral tale of Bologna and its relationship with comics. With I racconti di nessuno/Nobody’s tales (2019) and the first chapter of the work shot in Taranto, Lele Marcojanni hybridizes the language of printed literature with the language of cinema, creating a device that forces the reader/spectator to intervene directly on the work composition.
Lele Marcojanni is a collective project founded by Elena Mattioli, Flavio Perazzini and Roberto Mezzano.