Calendar

Canti fossili by Annamaria Ajmone is one of two commissions in the Dialoghi section. The performance explores the relationship between dance and voice, understood as a living, relational material.

Featuring: Annamaria Ajmone, Veza Fernandez, Emma Saba, Erwan Ha Kyoon Larcher, and Toni Steffens.

Annamaria Ajmone

Annamaria Ajmone is a dancer and choreographer whose research centres on the body as a mutable, malleable material. Her work unfolds across different formats and durations and emerges through collective processes. She has presented her work at international festivals and institutions including La Biennale Danza (Venice), brut Wien (Vienna), Palais de Tokyo (Paris), Triennale Milano, and Santarcangelo Festival. She received the Danza&Danza Award for Best Emerging Contemporary Performer in 2015. From 2016 to 2023 she curated Nobody’s Indiscipline, an independent platform for the exchange of practices and research, and from 2021 to 2024 she was an associated artist at Triennale Milano Teatro.

Veza Fernández

Veza Fernández is a Vienna-based dance, voice and performance artist. Her practice explores the poetic and political dimensions of the voice as a space of relation and transformation. Working across singing, writing, dance and speech, she creates polyphonic and sensorial performances. She holds a degree in Choreography from DAS, and her work has been presented at venues including brut Wien, Tanzquartier Vienna, Sophiensaele Berlin, Gessnerallee Zürich, de Singel Antwerp, and La Casa Encendida Madrid.

Erwan Ha Kyoon Larcher

Erwan Ha Kyoon Larcher is a multidisciplinary artist born in South Korea, raised in France, and based in Paris. With a background in circus, dance and acting, he has collaborated widely in the performing arts since 2009. His solo RUINE toured across Europe (2019–2024). Under the name HA KYOON, he also performs an electronic punk live set and composes music for live performance and theatre.

Toni Steffens

Toni Steffens is an artist, performer, and acupuncturist trained in dance and choreography, with a BA from the SNDO and an MFA from the Sandberg Institute. Their practice approaches movement as embodied knowledge and a tool for community, survival, and political imagination, challenging Cartesian dualism. Their work has been presented internationally, including at the Palais de Tokyo and the Van Abbemuseum. In 2024, they completed acupuncture training with a thesis on Takotsubo cardiomyopathy and participated (2023–25) in Planetary Poetics, focusing on climate collapse and art–activism intersections.

Emma Saba

Emma Saba is a dancer and choreographer whose practice develops at the intersection of movement, voice and self-hypnosis, in the desire to trace a feminist archaeology of the spectacular. Her work draws on her classical musical training at the Bologna Conservatory and unfolds through solo and collective formats. She completed her studies at La Manufacture (Lausanne) in 2021 and became associate artist at L’Abri – Geneva. She is a member of the foulles collective and has presented her work at venues including Pavillon ADC Geneva, Onassis Stegi Athens, and Festival Dias de Dança Porto. In 2024–2025 she was artist-in-residence at the Cité internationale des arts in Paris, supported by the Grand-Luxe network. She is a PREMIO 2025 finalist.

Stella Succi

Stella Succi works across publishing and the visual arts. Trained as an art historian, she is currently coordinator of Il Tascabile, an interdisciplinary online magazine published by Treccani. She collaborates as a researcher and dramaturg with artists and collectives, including Annamaria Ajmone and Altalena, and works with least, a Geneva-based association supporting co-creative ecological art practices.

Fabio Quaranta

Fabio Quaranta is a fashion designer and researcher based in Milan. His practice investigates clothing as a cultural and political device, questioning systems of production, authorship and value within the fashion industry. Through collections, exhibitions and research-based projects, he develops garments as tools for critical reflection and social positioning. His work has been presented in independent and institutional contexts, including fashion shows, exhibitions and educational platforms, and is closely connected to teaching and knowledge transmission.

Disco Tornio, exhibited in the second tesa, is an installation by Chiara Camoni that will be activated during the exhibition by Il Centro di Sperimentazione in collaboration with the Sculpture Department, Accademia di Belle Arti di Venezia, the public, and other guests.

The piece conceived by Giorgiomaria Cornelio for the Italian Pavilion’s Public Program takes the form of a poetic-performative device in which the poet’s solitary voice intertwines with the voices of the Arcicoro of Venice, exploring the dream as a space of collective transformation. Starting from the urgency ‘not to get used to dying’, from speculative science fiction and the need to resist desolation and resignation, Cornelio presents an unpublished text that traverses reality and the oneiric dimension. The dream thus emerges beyond escapism, as a field of political potential: a ‘lullaby’ for the new millennium, an act of descent into the ‘earth of the world’. The choir acts as a sonic collective, transforming the plurality of voices into a practice of encounter, listening and sharing. In the Tese delle Vergini, reading and singing intertwine the individual dimension of poetry with the choral, giving shape to an event in which matter, environment, body and community connect with an imaginative space through the composition and music of Roberto Paci Dalò. A sonic tapestry that unites the ‘pluriphony’ of voices with acoustic instruments and live electronics, creating an acoustic forest populated by ‘minor tones’ and breaths. The word thus becomes a vehicle for participation and the collective construction of meaning, while the dream asserts itself as a political act that opens up possible worlds.

Admission is limited to a maximum of 100 people.

Giorgiomaria Cornelio

Giorgiomaria Cornelio is a poet, director and performer, and editor of Nazione indiana. His publications include La consegna delle braci (Luca Sossella editore, Fondazione Primoli Prize), La specie storta (Tlon edizioni, Montano Prize, Gozzano Prize), L’Ufficio delle tenebre, the essay Fossili di rivolta and Ogni creatura è un popolo (NERO Editions, winner of the Santarcangelo Festival Fund). Cornelio’s poetry is an interweaving of myth, cinema, theatre and the spoken word, exploring the condition of the ‘crooked species’ – a way of engaging with reality where wounds and distortions offer oblique perspectives, alternative ways of seeing. In his work – suspended between irrelevance and a crossing of the contemporary, between fossils of revolt and figures of wayfarers ever on the move – language remains an indeterminate zone, capturing the world and reshaping it ceaselessly.

Arcicoro

Arcicoro is a choir of around 20–25 voices, predominantly female, dedicated to folk and polyphonic singing from various traditions around the world. The repertoire focuses in particular on women’s work songs, continuing a choral practice that weaves together memory, popular culture and political commitment. Founded as part of the Circolo Arci Franca Trentin Baratto and directed by Elida Bellon, Arcicoro maintains a strong community and social dimension, making singing a tool for sharing, resistance and collective construction.

Roberto Paci Dalò

Roberto Paci Dalò is an author, composer, director, visual and sound artist, draughtsman and performer. His work has been appreciated and supported by John Cage, Giya Kancheli and Aleskandr Sokurov, and is presented worldwide, including at the Venice Biennale, Power Station of Art Shanghai, Vienna State Opera and Wien Modern. Art, science, nature and voice are the keywords of his work, which creates a forest of unusual perceptual and sensory spaces. He was a guest at the DAAD Artists-in-Berlin Program and is the founder and director of Usmaradio – the Unirsm Radio Research Centre, where he teaches Exhibit Design. His publications include eBAU (Quodlibet), Ombre (Quodlibet), Filmnero (Marsèll), and Millesuoni. Deleuze, Guattari and Electronic Music, with E. Quinz (Cronopio).

Annalisa Metta

Annalisa Metta is a full professor of Landscape Architecture at Roma Tre University. In 2007, she was one of the founding partners of the OSA design studio, with which she has produced numerous award-winning and published projects. She has conducted research in Italy and abroad and in 2016–17, was awarded the Italian Fellowship at the American Academy in Rome. She is the creator of installations and temporary gardens, including In stato di grazia, with Felice Cimatti (AMA, Maddaloni, 2025) and Every 9 days, in the group exhibition Regeneration (Rome, 2022) featuring works by Chiara Camoni. Co-editor of the volumes Coltiviamo il nostro giardino (DeriveApprodi, 2019) and Wild & The City: landscape architecture for lush urbanism (Libria, 2020), she is the author of Il paesaggio è un mostro. Città selvatiche e nature ibride (DeriveApprodi, 2022). She contributed the essay ‘Timekeepers: Artifices of Vagueness, Practices of Temperance’ to the catalogue Con te con tutto (NERO Editions, 2026).

Ilaria Gianni

Ilaria Gianni is an independent curator, art critic and lecturer whose interest centres on the study of semiotic-narrative structures in the visual arts, with a particular focus on forms of research that examine the interstices within belief systems. Her curatorial practice seeks to construct exhibition and exploratory platforms as forms of knowledge redistribution. She is co-founder of IUNO, a research centre for contemporary art, and of the Magic Lantern Film Festival, an event dedicated to the links between the visual arts and cinema. She is a lecturer at John Cabot University, IED (Rome), RUFA (Rome) and NABA (Milan). Over the years, she has contributed texts to numerous catalogues and journals. Together with Cecilia Canziani, she curated Chiara Camoni’s solo exhibitions: Gli immediati dintorni (Nomas Foundation, 2015) and Forra, fiorame, fogliame. Mondo di sopra, mondo di sotto. E piccole creature (IUNO, 2022).

Annalisa Metta – in conversation with Giorgio Andreotta Calò, together with their students and the researchers from NICHE, in particular the Ecological Art Practices research group – presents an experience that begins with a choral reading inside the Italian Pavilion, before extending to the exploration and observation of the Isola del Forte di Sant’Andrea, long uninhabited by humans and now undergoing transformation in view of its new public use, based on an alliance between artistic practices and scientific research.

The fortress island is a significant place for reflecting on heritage, on the relationship between nature and artifice, on the physical and cultural accessibility of sites of value, on the complex tension between abandonment and enhancement, between institutions and communities, between rule and exception, on the very concept of an island, in both a geographical and metaphorical sense, and on the relationship between permanence and transience. The fortress island, where forms are definitive yet unstable, ever on the verge of becoming something else due to countless environmental interferences, represents the amphibious condition – the ‘double life’ – so crucial to understanding the contemporary landscape, and will be the text we read together as we cross it.

This experience intersects with the work of Chiara Camoni, who explores the ways of being of matter, its intrinsic instability, and the collective rituals of form generation, encompassing both the human and the non-human.

The walk lasts approximately three hours and includes a boat trip from the Arsenale to the island, with a convivial break at the Forte di Sant’Andrea.

Limited places available; registration required no later than three days before the event by writing to: iscrizione@lungomare.org

Annalisa Metta

Annalisa Metta is a full professor of Landscape Architecture at Roma Tre University. In 2007, she was one of the founding partners of the OSA design studio, with which she has produced numerous award-winning and published projects. She has conducted research in Italy and abroad and in 2016–17, was awarded the Italian Fellowship at the American Academy in Rome. She is the creator of installations and temporary gardens, including In stato di grazia, with Felice Cimatti (AMA, Maddaloni, 2025) and Every 9 days, in the group exhibition Regeneration (Rome, 2022) featuring works by Chiara Camoni. Co-editor of the volumes Coltiviamo il nostro giardino (DeriveApprodi, 2019) and Wild & The City: landscape architecture for lush urbanism (Libria, 2020), she is the author of Il paesaggio è un mostro. Città selvatiche e nature ibride (DeriveApprodi, 2022). She contributed the essay ‘Timekeepers: Artifices of Vagueness, Practices of Temperance’ to the catalogue Con te con tutto (NERO Editions, 2026).

NICHE Centre for Environmental Humanities

NICHE Centre for Environmental Humanities is a research centre at Ca’ Foscari University of Venice. With an interdisciplinary approach, the Centre promotes research and third-mission activities related to environmental humanities, supporting and developing artistic and academic collaborations with numerous local and international partners through participation in workshops, meetings and exhibitions. Venice is an unrivalled observatory and, at the same time, a living laboratory of ecosystemic balance and coexistence for a diverse global community. With its eighteen interdisciplinary research groups, including one dedicated to Ecological Art Practices, NICHE fosters dialogue among scholars, innovators, artists, writers, journalists and stakeholders to forge a new alliance between the humanities, social life and the natural sciences that can have a positive impact on the city and the world.

Giorgio Andreotta Calò

Giorgio Andreotta Calò (Venice) is a visual artist whose work spans sculpture, installation and performance, often characterised by a strong experiential and site-specific dimension. After studying at the Academy of Fine Arts in Venice and the Kunsthochschule in Berlin, he further developed his artistic practice through major international residencies, including the Rijksakademie van Beeldende Kunsten in Amsterdam and Villa Arson in Nice. His works, often monumental in scale, explore the relationship between space, time and memory, inviting the viewer to engage physically and sensorially. In 2011, he was featured in the main exhibition of the 54th Venice Biennale; in 2012, he received the MAXXI Prize; in 2014, the New York Prize. In 2017, he represented Italy at the 57th Venice Biennale with the installation Senza titolo (La fine del mondo): an architectural intervention reflecting on the instability of our historical present. In 2019, his first retrospective was held at Hangar Bicocca Pirelli (Milan).

Microclima

The project for the reopening of the Fort of Sant’Andrea is led by Microclima, a social promotion association founded by Paolo Rosso and active in Venice since 2011. The association’s first projects, focusing on the relationship between nature, cultural heritage and public space, were carried out at the Serra dei Giardini in Venice. Over the following years, Microclima expanded its scope internationally, developing projects in Guwahati (India), Santiago (Cuba) and Ulaanbaatar (Mongolia), and promoting intercultural exchange programmes for artists and creatives. Since 2020, thanks to the support of a strong network of local and international partners, the association has curated and organised Cinema Galleggiante. Project managers Mauro Baronchelli and Sara Maggioni, architect Alexander Eriksson Furunes, curator Kristine Jærn Pilgaard and artist Giorgio Andreotta Calò have all contributed to defining the concept for this project.

The piece conceived by Giorgiomaria Cornelio for the Italian Pavilion’s Public Program takes the form of a poetic-performative device in which the poet’s solitary voice intertwines with the voices of the Arcicoro of Venice, exploring the dream as a space of collective transformation. Starting from the urgency ‘not to get used to dying’, from speculative science fiction and the need to resist desolation and resignation, Cornelio presents an unpublished text that traverses reality and the oneiric dimension. The dream thus emerges beyond escapism, as a field of political potential: a ‘lullaby’ for the new millennium, an act of descent into the ‘earth of the world’. The choir acts as a sonic collective, transforming the plurality of voices into a practice of encounter, listening and sharing. In the Tese delle Vergini, reading and singing intertwine the individual dimension of poetry with the choral, giving shape to an event in which matter, environment, body and community connect with an imaginative space through the composition and music of Roberto Paci Dalò. A sonic tapestry that unites the ‘pluriphony’ of voices with acoustic instruments and live electronics, creating an acoustic forest populated by ‘minor tones’ and breaths. The word thus becomes a vehicle for participation and the collective construction of meaning, while the dream asserts itself as a political act that opens up possible worlds.

Giorgiomaria Cornelio

Giorgiomaria Cornelio is a poet, director and performer, and editor of Nazione indiana. His publications include La consegna delle braci (Luca Sossella editore, Fondazione Primoli Prize), La specie storta (Tlon edizioni, Montano Prize, Gozzano Prize), L’Ufficio delle tenebre, the essay Fossili di rivolta and Ogni creatura è un popolo (NERO Editions, winner of the Santarcangelo Festival Fund). Cornelio’s poetry is an interweaving of myth, cinema, theatre and the spoken word, exploring the condition of the ‘crooked species’ – a way of engaging with reality where wounds and distortions offer oblique perspectives, alternative ways of seeing. In his work – suspended between irrelevance and a crossing of the contemporary, between fossils of revolt and figures of wayfarers ever on the move – language remains an indeterminate zone, capturing the world and reshaping it ceaselessly.

Arcicoro

Arcicoro is a choir of around 20–25 voices, predominantly female, dedicated to folk and polyphonic singing from various traditions around the world. The repertoire focuses in particular on women’s work songs, continuing a choral practice that weaves together memory, popular culture and political commitment. Founded as part of the Circolo Arci Franca Trentin Baratto and directed by Elida Bellon, Arcicoro maintains a strong community and social dimension, making singing a tool for sharing, resistance and collective construction.

Roberto Paci Dalò

Roberto Paci Dalò is an author, composer, director, visual and sound artist, draughtsman and performer. His work has been appreciated and supported by John Cage, Giya Kancheli and Aleskandr Sokurov, and is presented worldwide, including at the Venice Biennale, Power Station of Art Shanghai, Vienna State Opera and Wien Modern. Art, science, nature and voice are the keywords of his work, which creates a forest of unusual perceptual and sensory spaces. He was a guest at the DAAD Artists-in-Berlin Program and is the founder and director of Usmaradio – the Unirsm Radio Research Centre, where he teaches Exhibit Design. His publications include eBAU (Quodlibet), Ombre (Quodlibet), Filmnero (Marsèll), and Millesuoni. Deleuze, Guattari and Electronic Music, with E. Quinz (Cronopio).

Disco Tornio, exhibited in the second tesa, is an installation by Chiara Camoni that will be activated during the exhibition by Il Centro di Sperimentazione in collaboration with the Sculpture Department, Accademia di Belle Arti di Venezia, the public, and other guests.

Canti fossili by Annamaria Ajmone is one of two commissions in the Dialoghi section. The performance explores the relationship between dance and voice, understood as a living, relational material.

Featuring: Annamaria Ajmone, Veza Fernandez, Emma Saba, Erwan Ha Kyoon Larcher, and Toni Steffens.

Annamaria Ajmone

Annamaria Ajmone is a dancer and choreographer whose research centres on the body as a mutable, malleable material. Her work unfolds across different formats and durations and emerges through collective processes. She has presented her work at international festivals and institutions including La Biennale Danza (Venice), brut Wien (Vienna), Palais de Tokyo (Paris), Triennale Milano, and Santarcangelo Festival. She received the Danza&Danza Award for Best Emerging Contemporary Performer in 2015. From 2016 to 2023 she curated Nobody’s Indiscipline, an independent platform for the exchange of practices and research, and from 2021 to 2024 she was an associated artist at Triennale Milano Teatro.

Veza Fernández

Veza Fernández is a Vienna-based dance, voice and performance artist. Her practice explores the poetic and political dimensions of the voice as a space of relation and transformation. Working across singing, writing, dance and speech, she creates polyphonic and sensorial performances. She holds a degree in Choreography from DAS, and her work has been presented at venues including brut Wien, Tanzquartier Vienna, Sophiensaele Berlin, Gessnerallee Zürich, de Singel Antwerp, and La Casa Encendida Madrid.

Erwan Ha Kyoon Larcher

Erwan Ha Kyoon Larcher is a multidisciplinary artist born in South Korea, raised in France, and based in Paris. With a background in circus, dance and acting, he has collaborated widely in the performing arts since 2009. His solo RUINE toured across Europe (2019–2024). Under the name HA KYOON, he also performs an electronic punk live set and composes music for live performance and theatre.

Toni Steffens

Toni Steffens is an artist, performer, and acupuncturist trained in dance and choreography, with a BA from the SNDO and an MFA from the Sandberg Institute. Their practice approaches movement as embodied knowledge and a tool for community, survival, and political imagination, challenging Cartesian dualism. Their work has been presented internationally, including at the Palais de Tokyo and the Van Abbemuseum. In 2024, they completed acupuncture training with a thesis on Takotsubo cardiomyopathy and participated (2023–25) in Planetary Poetics, focusing on climate collapse and art–activism intersections.

Emma Saba

Emma Saba is a dancer and choreographer whose practice develops at the intersection of movement, voice and self-hypnosis, in the desire to trace a feminist archaeology of the spectacular. Her work draws on her classical musical training at the Bologna Conservatory and unfolds through solo and collective formats. She completed her studies at La Manufacture (Lausanne) in 2021 and became associate artist at L’Abri – Geneva. She is a member of the foulles collective and has presented her work at venues including Pavillon ADC Geneva, Onassis Stegi Athens, and Festival Dias de Dança Porto. In 2024–2025 she was artist-in-residence at the Cité internationale des arts in Paris, supported by the Grand-Luxe network. She is a PREMIO 2025 finalist.

Stella Succi

Stella Succi works across publishing and the visual arts. Trained as an art historian, she is currently coordinator of Il Tascabile, an interdisciplinary online magazine published by Treccani. She collaborates as a researcher and dramaturg with artists and collectives, including Annamaria Ajmone and Altalena, and works with least, a Geneva-based association supporting co-creative ecological art practices.

Fabio Quaranta

Fabio Quaranta is a fashion designer and researcher based in Milan. His practice investigates clothing as a cultural and political device, questioning systems of production, authorship and value within the fashion industry. Through collections, exhibitions and research-based projects, he develops garments as tools for critical reflection and social positioning. His work has been presented in independent and institutional contexts, including fashion shows, exhibitions and educational platforms, and is closely connected to teaching and knowledge transmission.

Felice Cimatti

Felice Cimatti teaches Semiotics and Language Theory at the University of Calabria. His studies focus on the relationship between language, animality and mysticism. He hosts the radio programme Uomini e Profeti on Rai Radio3. Over recent years, he has combined his philosophical work with his own artistic practice, which explores the inscrutability of the animal gaze.

Esther Kinsky

Esther Kinsky is a poet, writer and translator, distinguished by her narrative mastery in exploring the human experience of place, remembrance and memory within the experience of disorientation. She grew up in West Germany along the River Rhine and has lived in various European countries. She currently lives in Vienna and in a small village in Friuli that inspired her novel Rombo (Iperborea, 2023) about the 1976 earthquake in Friuli. Her novels, poems, essays and translations have received numerous awards, including the prestigious Kleist Prize (2023) and the Droste Prize of Meersburg (2024), and have been translated into twelve languages. Her most recent book published in Italian is Di luce e polvere (Iperborea, 2025).

Bibliomancy is an ancient divinatory practice centred on dialogue with the book as an object. A question is posed and one prepares to receive an answer from the text; then the pages are opened and one’s gaze falls upon a passage. In the simplicity of this gesture, one discovers an oracle within the book and, in chance, a poetic and poietic force – or perhaps one denies that chance exists.

Con te con tutto is ‘a call to come together’, and it is in this spirit that NERO extends the invitation from Lungomare to take part in the Public Program to Giulia Currà, who in turn called on Cora Baratti, bringing Il Salotto delle Preziose into the Italian Pavilion: a space and a time for sharing the magical, through the revival of practices and knowledge bound up in witchcraft and esotericism.

NERO and Il Salotto delle Preziose therefore propose a bibliomancy session in order to bring different voices into resonance – visions and presences from our world as well as others.

Giulia Currà

Giulia Currà (she / they / Pisces with Libra rising) has been a removal worker, artist, curator and witch since 1988. Her work focuses on redefining the profession of removals – situated within the context of the legacy of the ‘Southern Question’ – and the concept of the fragile body through poetic and magical gestures. Founder of Traslochi Emotivi and Casa Cicca Museum, she collaborates with Gilda Von Rümelin on ‘excessive’ texts, with Cora Baratti on Il Salotto delle Preziose, and writes for publications such as Flash Art and Zero. She won the thirteenth edition of the Italian Council’s talent development programme with her research project If you move something happens.

Cora Baratti

Cora Baratti (she / they / Gemini with Pisces rising) has been an interdisciplinary artist, witch, activist and researcher since 1997. A PhD candidate in Gender Studies and Modern History at the University of Bari, her research focuses on gender-based violence and the reinterpretation of the figure of the witch, exploring the political and poetic potential of magical thinking and collective memory. She has presented her work in national and international contexts and collaborated on various collective projects. She works regularly with Marijke De Roover and Giulia Currà, with whom she founded Il Salotto delle Preziose in 2023.

Angelika Burtscher and Daniele Lupo

Angelika Burtscher and Daniele Lupo are designers and curators. Since 2003, they have been sharing ideas and working methods, fostering a lasting collaboration and friendship. They are co-founders and artistic directors of Lungomare, a platform for cultural production and design. Their work and research focus primarily on how social and cultural projects influence the public sphere and shape our coexistence. Their approach has always been transdisciplinary; after almost twenty years at the helm of the Lupo Burtscher design studio and the Lungomare association, in 2021 they decided to found the Cooperativa Lungomare, with the aim of more closely integrating design practice with curatorial practice, operating through a wide network of people and collaborations. Alongside their work on exhibition and publishing projects, they are involved in communication and awareness-raising campaigns, as well as site-specific artistic productions. They teach at various universities, including the University of Art and Design in Linz and the Faculty of Design and Arts at the Free University of Bozen-Bolzano.

Cecilia Canziani

Cecilia Canziani is an art historian and independent curator. Her work focuses on contemporary artistic practice, writing and teaching on contemporary visual culture, and collaboration as a curatorial methodology. She is co-founder of the contemporary art research centre IUNO and of the Les Cerises publishing project for children’s artist’s books. She teaches Phenomenology of Contemporary Arts at the Academy of Fine Arts in L’Aquila. Recent exhibition projects include the first institutional retrospective of Linda Fregni Nagler in Italy, organised for the GAM in Turin; the Festival of Foreign Academies and Cultural Institutes at the Palazzo delle Esposizioni in Rome; two exhibitions dedicated to Elisa Montessori at the Italian Cultural Institutes in Warsaw and Kraków; Io dico io at the National Gallery of Modern Art in Rome, and the Anastasia Potemkina exhibition at MAXXI L’Aquila. She has been following the work of Chiara Camoni since 2010, of whom she edited her first monograph (NERO, 2017) and, since 2018, they have worked together on the touring research project La Giusta Misura.

Falling on the Past unfolds as a collective, embodied exploration that brings the artistic practices of Valentina Karga and Jacopo Miliani, creating a space in which Ancestral imagination and bodily experience come together. The afternoon begins with an introduction to Karga’s research, through her video work Prehistoric Posthumans: A video storytelling, which opens the workshop with a reflection on the ancestral past as a space of possibility and healing. Participants are then invited to a practical session of cutting and shaping fabrics, drawing inspiration from prehistoric figurines. This process transforms the act of making into a collective gesture, establishing an initial connection between body, material and ancestral forms. This phase is followed by a collective reading that links the two practices.

The workshop then shifts towards Miliani’s performative approach. Through a series of guided exercises, participants engage with the act of falling as a repetitive and transformative gesture. The fabrics created earlier become the surface onto which bodies fall, introducing a tension between protection and risk, control and surrender. Falling is explored here as a means of altering perception. Throughout the process, verbal language gradually recedes, making way for forms of non-verbal communication and a shared physical experience. The workshop thus becomes a space for experimenting with alternative modes of relating, between participants, materials and imagined ancestral presences.

Limited places available; registration required no later than three days before the event by writing to: iscrizione@lungomare.org

Valentina Karga

Valentina Karga is an artist born in Chalkidiki, a peninsula in northern Greece. Her work lies at the intersection of art, design, architecture and research, weaving together socially and speculative experiments that challenge existing social and in the fields of energy, the economy and sustainability. She was a fellow at the Berlin Centre for Advanced Studies in Arts and Science at the Berlin University of the Arts Berlin, a Saari Fellow in Finland, and held residencies at NTU-CCA in Singapore and at the Vilém Flusser programme at Transmediale in Berlin. Her work has been exhibited . From 2018 to 2024, she was a professor at the Hochschule für bildende Künste Hamburg (HfbK), where she developed projects with her students that were exhibited at documenta fifteen in Kassel and at Somerset House in London. She is currently a professor at the HfG Karlsruhe. She lives in Berlin.

Jacopo Miliani

Jacopo Miliani is an artist whose practice treats performance as an aimed at investigating the connections between linguistic construction and corporeality. He lives in Milan and is a professor at the Academy of Fine Arts in Florence and at Università Iuav di Venezia. In 2021 and 2024, he co-directed MATCH, a festival dedicated to performance at the Museo Novecento in Florence. He has exhibited internationally, collaborating with performers such as Jacopo Jenna, Antonio Torres, divaD, Benjamin Milan, Mathieu LaDurée, Eve Stainton, Annamaria Ajmone, Sara Leghissa and Marco Mazzoni. His work currently focuses on the relationship between dance, the body and cinema.

La Giusta Misura is a traveling seminar conceived by Cecilia Canziani and Chiara Camoni, which since 2018 has interwoven theory and practice, manual knowledge and critical reflection. First event at the International Sculpture Park of Villa Fürstenberg, Banca Ifis.

Chiara Camoni

Chiara Camoni (1974, Piacenza) lives and works in a small village in the Apuan Alps. Her practice includes drawing, plant printing, video and above all sculpture, with a particular focus on ceramics. Her works are often the result of collaborations with informal and spontaneous groups, workshops or more institutional seminars. For several years, ‘Il Centro di Sperimentazione’ has supported the artist in the development of projects characterised by shared authorship, further expanding the formats and languages she uses.

Cecilia Canziani

Cecilia Canziani is an art historian and independent curator. Her work focuses on contemporary artistic practice, writing and teaching on contemporary visual culture, and collaboration as a curatorial methodology. She is co-founder of the contemporary art research centre IUNO and of the Les Cerises publishing project for children’s artist’s books. She teaches Phenomenology of Contemporary Arts at the Academy of Fine Arts in L’Aquila. Recent exhibition projects include the first institutional retrospective of Linda Fregni Nagler in Italy, organised for the GAM in Turin; the Festival of Foreign Academies and Cultural Institutes at the Palazzo delle Esposizioni in Rome; two exhibitions dedicated to Elisa Montessori at the Italian Cultural Institutes in Warsaw and Kraków; Io dico io at the National Gallery of Modern Art in Rome, and the Anastasia Potemkina exhibition at MAXXI L’Aquila. She has been following the work of Chiara Camoni since 2010, of whom she edited her first monograph (NERO, 2017) and, since 2018, they have worked together on the touring research project La Giusta Misura.

Annalisa Metta

Annalisa Metta is a full professor of Landscape Architecture at Roma Tre University. In 2007, she was one of the founding partners of the OSA design studio, with which she has produced numerous award-winning and published projects. She has conducted research in Italy and abroad and in 2016–17, was awarded the Italian Fellowship at the American Academy in Rome. She is the creator of installations and temporary gardens, including In stato di grazia, with Felice Cimatti (AMA, Maddaloni, 2025) and Every 9 days, in the group exhibition Regeneration (Rome, 2022) featuring works by Chiara Camoni. Co-editor of the volumes Coltiviamo il nostro giardino (DeriveApprodi, 2019) and Wild & The City: landscape architecture for lush urbanism (Libria, 2020), she is the author of Il paesaggio è un mostro. Città selvatiche e nature ibride (DeriveApprodi, 2022). She contributed the essay ‘Timekeepers: Artifices of Vagueness, Practices of Temperance’ to the catalogue Con te con tutto (NERO Editions, 2026).

Canti fossili by Annamaria Ajmone is one of two commissions in the Dialoghi section. The performance explores the relationship between dance and voice, understood as a living, relational material.

Featuring: Annamaria Ajmone, Veza Fernandez, Emma Saba, Erwan Ha Kyoon Larcher, and Toni Steffens.

Annamaria Ajmone

Annamaria Ajmone is a dancer and choreographer whose research centres on the body as a mutable, malleable material. Her work unfolds across different formats and durations and emerges through collective processes. She has presented her work at international festivals and institutions including La Biennale Danza (Venice), brut Wien (Vienna), Palais de Tokyo (Paris), Triennale Milano, and Santarcangelo Festival. She received the Danza&Danza Award for Best Emerging Contemporary Performer in 2015. From 2016 to 2023 she curated Nobody’s Indiscipline, an independent platform for the exchange of practices and research, and from 2021 to 2024 she was an associated artist at Triennale Milano Teatro.

Veza Fernández

Veza Fernández is a Vienna-based dance, voice and performance artist. Her practice explores the poetic and political dimensions of the voice as a space of relation and transformation. Working across singing, writing, dance and speech, she creates polyphonic and sensorial performances. She holds a degree in Choreography from DAS, and her work has been presented at venues including brut Wien, Tanzquartier Vienna, Sophiensaele Berlin, Gessnerallee Zürich, de Singel Antwerp, and La Casa Encendida Madrid.

Erwan Ha Kyoon Larcher

Erwan Ha Kyoon Larcher is a multidisciplinary artist born in South Korea, raised in France, and based in Paris. With a background in circus, dance and acting, he has collaborated widely in the performing arts since 2009. His solo RUINE toured across Europe (2019–2024). Under the name HA KYOON, he also performs an electronic punk live set and composes music for live performance and theatre.

Toni Steffens

Toni Steffens is an artist, performer, and acupuncturist trained in dance and choreography, with a BA from the SNDO and an MFA from the Sandberg Institute. Their practice approaches movement as embodied knowledge and a tool for community, survival, and political imagination, challenging Cartesian dualism. Their work has been presented internationally, including at the Palais de Tokyo and the Van Abbemuseum. In 2024, they completed acupuncture training with a thesis on Takotsubo cardiomyopathy and participated (2023–25) in Planetary Poetics, focusing on climate collapse and art–activism intersections.

Emma Saba

Emma Saba is a dancer and choreographer whose practice develops at the intersection of movement, voice and self-hypnosis, in the desire to trace a feminist archaeology of the spectacular. Her work draws on her classical musical training at the Bologna Conservatory and unfolds through solo and collective formats. She completed her studies at La Manufacture (Lausanne) in 2021 and became associate artist at L’Abri – Geneva. She is a member of the foulles collective and has presented her work at venues including Pavillon ADC Geneva, Onassis Stegi Athens, and Festival Dias de Dança Porto. In 2024–2025 she was artist-in-residence at the Cité internationale des arts in Paris, supported by the Grand-Luxe network. She is a PREMIO 2025 finalist.

Stella Succi

Stella Succi works across publishing and the visual arts. Trained as an art historian, she is currently coordinator of Il Tascabile, an interdisciplinary online magazine published by Treccani. She collaborates as a researcher and dramaturg with artists and collectives, including Annamaria Ajmone and Altalena, and works with least, a Geneva-based association supporting co-creative ecological art practices.

Fabio Quaranta

Fabio Quaranta is a fashion designer and researcher based in Milan. His practice investigates clothing as a cultural and political device, questioning systems of production, authorship and value within the fashion industry. Through collections, exhibitions and research-based projects, he develops garments as tools for critical reflection and social positioning. His work has been presented in independent and institutional contexts, including fashion shows, exhibitions and educational platforms, and is closely connected to teaching and knowledge transmission.

In her talk at the Pavilion, Sara Basta invites participants to engage with Chiara Camoni’s work by exploring language in its many forms. Listening, observing and looking become tools for connection and openness towards a wider community. The Pavilion space is thus transformed into a living workshop, where reading, discussion and painting take place in different areas, generating shared signs and narratives that intertwine individual and collective experience.

Limited places available; registration required no later than three days before the event by writing to: iscrizione@lungomare.org

Sara Basta

Sara Basta is an artist and educator (Rome, Italy). Her works emerge from collective research and the creation of small, temporary communities among people who share narratives and engage in dialogue through shared activities. Sara Basta teaches Integrated Expressive Techniques at the School of Art Education at the Academy of Fine Arts in Venice and on the Art Therapy course at the Academy of Fine Arts in Rome.

Adriana Cavarero

Adriana Cavarero is one of Italy’s most influential philosophers, a former lecturer in political philosophy at the University of Verona and currently director of the Hannah Arendt Study Centre at the same university. Her work explores themes such as gender difference, narrative, identity and vulnerability. Her major works include: Nonostante Platone and Tu che mi guardi, tu che mi racconti. In her recent book Il canto delle sirene (Castelvecchi), she reinterprets the myth of the sirens from a philosophical perspective, weaving together voice, myth and politics.

Felice Cimatti

Felice Cimatti teaches Semiotics and Language Theory at the University of Calabria. His studies focus on the relationship between language, animality and mysticism. He hosts the radio programme Uomini e Profeti on Rai Radio3. Over recent years, he has combined his philosophical work with his own artistic practice, which explores the inscrutability of the animal gaze.

SAWT is a project exploring the ritual practice of the Aita, an ancient poetic song from the Moroccan tradition. Aita is the profound story that tears through the voice of the countryside, an oral archive handed down over centuries of life, love, pain and resistance.

Where word and song are one, body and soul merge, touching in the abyss of a cry, a lament, a sinking that feels almost like dying for an instant, only to be reborn and perceive life with greater vigour. It is the ecstasy felt by the spirit, the pain of a body tormented by itself, the essence of the sacred and the profane, meeting at their deepest point.

There is a life and there are words that lie in the deepest recesses of our feeling; that state emerges with the surrender of reason, swimming in the darkness of our fears, yielding to oblivion, rejecting control; that voice is set free like the very first cry of which we have no memory, only the certainty of its meaning: I exist.

SAWT is a performance rooted in a research project supported by the FONDO network for emerging creativity and adapted for the Public Program of the Italian Pavilion at the 2026 Venice Biennale.

Wissal Houbabi

Wissal Houbabi, performance poet, artist, writer, founder and artistic director of Spore. Winner of the FONDO Santarcangelo Teatri 2025/26. WIHO explores the relationship between languages and dialects, between sound, stigma and meaning. Over time, she has distinguished herself through her creativity, her radical vocal and political stance, her provocative irony, and her ability and care in communicating with people. Her work has a clear political perspective, linking the pursuit of beauty to dignity and viewing poetic practice as a radical search for the ‘we’. Her projects explore the epistemology of the diaspora, and she has worked specifically on oral heritage in relation to coloniality, the voice of the body, muscular memory, dreams in the diaspora, and the right to love and be loved. Among her latest works: Impercettibile, experimental poetry projects in Rome and Padua; Wiho & Free Radicals, a spoken jazz band active between Italy and France; Una gran puzza di merda nell’aria, a monologue presented at over forty events including Hangar Pirelli 2022; phonomuseum_rome at the Museum of Civilisation; Offesissima at Ar/ge Kunst Bolzano and much more.

Cecilia Canziani

Cecilia Canziani is an art historian and independent curator. Her work focuses on contemporary artistic practice, writing and teaching on contemporary visual culture, and collaboration as a curatorial methodology. She is co-founder of the contemporary art research centre IUNO and of the Les Cerises publishing project for children’s artist’s books. She teaches Phenomenology of Contemporary Arts at the Academy of Fine Arts in L’Aquila. Recent exhibition projects include the first institutional retrospective of Linda Fregni Nagler in Italy, organised for the GAM in Turin; the Festival of Foreign Academies and Cultural Institutes at the Palazzo delle Esposizioni in Rome; two exhibitions dedicated to Elisa Montessori at the Italian Cultural Institutes in Warsaw and Kraków; Io dico io at the National Gallery of Modern Art in Rome, and the Anastasia Potemkina exhibition at MAXXI L’Aquila. She has been following the work of Chiara Camoni since 2010, of whom she edited her first monograph (NERO, 2017) and, since 2018, they have worked together on the touring research project La Giusta Misura.

Francesco Ventrella

Francesco Ventrella teaches art history at the University of Sussex, where he is affiliated with the Centre for the Study of Sexual Dissidence. In 2007, he was a visiting fellow at the CATH Centre, University of Leeds; between 2013 and 2016, he was a Leverhulme Early Career Fellow, and in 2019 he received the Paul Mellon Rome Fellowship at the British School at Rome. Francesco has explored gender and corporeality in art writing, and his research in the field of feminist and queer art history focuses on affective categories such as enthusiasm, empathy and resonance to rethink the relationship between sexuality, gender and modernity. He co-edited, together with Giovanna Zapperi, the volume Feminism and Art in Postwar Italy: the Legacy of Carla Lonzi (Bloomsbury, 2021).

Language is never neutral. Words such as ‘genocide’, ‘anti-Semitism’, ‘self-defence’, ‘terrorism’ and ‘right to exist’ have become contested territories – indicators of radically divergent worldviews, laden with the weight of collective and personal histories.

This workshop takes the practice of Controlessico as its starting point: a collective effort to examine, reclaim and redefine the words through which we make sense of the world. Drawing on the intersection of language, memory and political experience, participants will explore how concepts shift between personal testimony and public discourse, between silence and speech.

The afternoon will begin with a collective reading of selected texts, followed by a guided writing workshop open to students and the public. Participants will be invited to contribute to a shared glossary – a new alphabet of lived and contested terms drawn from our present, with a particular focus on current global liberation struggles.

The texts produced may be presented to the public at the end of the day.

Limited places available; registration required no later than three days before the event by writing to: iscrizione@lungomare.org

Mirene Arsanios

Mirene Arsanios is the author of the short story collections The City Outside the Sentence (Ashkal Alwan, 2015), Notes on Mother Tongues (UDP, 2019) and The Autobiography of a Language (Futurepoem, 2022). Her essays and short stories have appeared in e-flux journal, VIDA, The Brooklyn Rail, LitHub, Guernica and Fence, among others. Arsanios co-founded the 98weeks Research Project in Beirut and is the founder of Makhzin magazine, a bilingual English/Arabic publication dedicated to innovative writing. She lives in Brooklyn, where she teaches at the Pratt Institute, and currently serves as Programme Director at the Poetry Project.

Manuela Pacella

Manuela Pacella (Rome, 1977) is an art historian and critic. She writes regularly for books, exhibition catalogues and specialist journals. Her publications include Bertille Bak. La fiaba del reale (Postmedia Books, 2018) and Tell me stories! (Politi Seganfreddo edizioni, 2024), a book based on the column of the same name published in Flash Art Italia (2020–24). In the fields of publishing, writing and teaching, she has long been committed to analysing that liminal zone of critical writing that blurs the boundaries between genres, leading to theoretical fiction. Her course in Critical Writing within the two-year programme in Visual Arts and Curatorial Studies at NABA, Nuova Accademia di Belle Arti (Rome campus), is characterised precisely by a trajectory that shifts from academic and critical writing towards a freer and less regulated textual form.