La Biennale di Venezia

Biennale Danza 2024
We Humans
July 19 – Aug 3

Programme

The Guardian review

ccap is funded by the City of Stockholm, Region Stockholm and Swedish Arts Council. The work presented at Biennale Danza 2024 is supported by Dansens Hus Stockholm, Embassy of Sweden Rome and the International Dance Programme at the Swedish Arts Grants Committee.

DEADLOCK
Arsenale – Teatro alle Tese

Safe in the passage, lost in a fantasy, the dancer gives up her self and blends with her ghost. Plural in her core, lonely layer of several, flat surface with depth, reflection of a projection; human, no longer only human, she travels the narrow route lingering between what is perceived as real and what we presume imaginary.

DEADLOCK is an essay on trans-morphic dancing, and a flight into the unruly. A reckless, utterly precise piece of choreography, serially ordered, performatively embodied. Singular in kind, manifold in subtext. Restraint, stranded in the flickering light of a disappearance. At once death-wish and evidence of life. A dance. Immersed in the aesthetic thrill of a passage that unleashes the senses.

space film choreography Cristina Caprioli
dance live & on film Louise Dahl
sound ’Variable Dimensions’ by Richard Chartier (2020) published by Touch Music/Fairwood Music UK Ltd
lighting design Thomas Zamolo
photo, cinematography & edit Thomas Zamolo
set-up & technique Thomas Zamolo, Albin Åkerman
production ccap
production partners AGAB, Dansens Hus
ccap team Anna Grip, Sigrid Sjöholm, Masha Taavoniku
thank you Delight Studios

teaser

trailer

email for full documentation

The Bench
Viale Giuseppe Garibaldi

Some dudes take a walk in the park. Then linger a bench and ponder over a destiny.

In summer 2020, Cristina wrote a text on the features of dancing, and the power games that condition the feminine.
The text, entitled The Bench and the Parts, eventually turned into the script for a dancing piece, named The Bench.

The Bench is several benches, pacing a trail along the alley of the park.
Audience and performers follow the trail and listen. One story turns into several, every one body floats into a bunch.
Walking the grovel, folding over the seat, dancing deals with circumstances, and speaks her conundrum.
The park becomes a playground for outdoor re-creation.

The Bench argues for dance as an extra-ordinary gesture in the everyday common. Through the lens of the fine print, syntactically barren, prosaic language of Beckett, and the existential gravity and pervasive odd humor of his plays.

A work-in-progress of The Bench is performed at the Biennale by the College participants.
The Bench will be later resumed by ccap, planned premiere in 2025,

The Lions Award Ceremony
Cá Giustinian

Watch the Lions Ceremony and Cristina Caprioli’s speech here

flat haze
Arsenale – Sale d’Armi E

if you want to think, or dance for that matter, you better find the proper place for thinking, and for dancing
too much light might be disturbing, wide open views distracting
personally, I need confined spaces with poor sight
in white noise overtone  

there you might get on dealing with complexity in an orderly manner,
at best running things on parallel lanes
even better if on thin threads tracing parallel lanes  

all this will confine your vision
split your thoughts apart, shred each move into pieces
I find that quite useful
to look ahead through a gap
looking at things from a narrow interstice  

besides
what a pleasure it is to look from behind
best of all, to get to see the thinnest thickness itself
that which runs between you and the rest of the world
safe and reckless you may dance, and think

Miles of thin thread stretching from wall to wall, tracing a horizontal haze. Split into parallel strata, the room disengages overview, and turns into a soundproof vibration. Lurking inside the haze, mutest in the pond, foreign figures move their limbs with inexplicable precision and care. Tangible and faint, eloquent in rigor, they remain unmarked. Nimble remnants, animated ‘things’, perhaps cyborgs undone, in their own way perfectly unfinished, senseless enough, they detour language and dance the uncertain. We (humans?) watch from a distance and don’t get a thing but cannot not be moved. Imperceptibly, we give up our fences and join the vague sensation we cannot grasp but don’t want to miss. flat haze is a place of contemplation. Foreign to the most, gentle as a distant embrace. flat haze promotes the thin threading of choreography, suggesting partial sight and unmarked stillness as the best condition of dancing, and plain togetherness.

space & choreography Cristina Caprioli
performers* Louise Dahl, Samuel Draper, Hana Lee Erdman, Iréne Hultman, Annika Hyvärinen, Oskar Landström, Elliott Marmouset, Adam Schütt,
Kristiina Viiala
sound Untitled (Angle.1) + Tracing by Richard Chartier (2009 + 2005) published by Touch Music/Fairwood Music UK Ltd &
tracks i, ii, iii, viii, ix, xxiii, xxiv, xxv, xxvi, xxvii, xxviii on the album Miniatures by asher tuil
set-up, technique & lighting design Thomas Zamolo
production ccap
production partners AGAB, Dansens Hus
ccap team Anna Grip, Sigrid Sjöholm, Masha Taavoniku
thank you pavleheidler
photo Thomas Zamolo

*performers alternate

SILVER
Forte Marghera, Mestre

what if silver is the color of dancing?
what if dancing is nothing but a missing child, silver coated and unlawfully reproduced?

One hundred silver coats lose their way and turn gloomy, like missing children who don’t know whether to cry or play.

For the most part, the coats remain empty, as if they were shells of homeless things. Then they wrap their surface around a tree, climb up the wall, fall headfirst, roll over a bush and build a shelter. Visitors follow the coats, squinter their gaze, listen to the landscape as it shifts our horizon. We stay just a moment, linger overtime.

SILVER is a series of images, courted and confirmed. Simple in both form and strategy, SILVER is nothing but a frame for unexpected outfalls, an open window to serendipity. A playground in awe of the complexity of its own game.

choreography Cristina Caprioli & the performers
performers Iréne Hultman, Annika Hyvärinen, Oskar Landström
production ccap
ccap team Anna Grip, Sigrid Sjöholm, Masha Taavoniku
photo Masha Taavoniku

tune in turn on and dance along
Cristina Caprioli workshop
Arsenale – Sale d’Armi G