choreography Marina Donatone
performer and research collaborator Gianmaria Borzillo, Ilaria Quaglia, Teresa Noronha Feio (two performers alternating)
space and light Cosimo Ferrigolo
production Codeduomo Cultural Association
Coproduction Fuorimargine - Dance and Performing Arts Production Center of Sardinia
support Live Arts Cultures, Operaestate/Centre for the Contemporary Scene of Bassano del Grappa, Lavanderia a Vapore - dance residency center, Santarcangelo Festival, CN D Centre national de la danse - Pantin, Italian Cultural Institute of Paris
administration Anna Damiani
organization Monica Maffei
photo Stefano Mattea

National Premiere

plein air is an invitation to enter an epidermal, hallucinatory, magical state. It is a research that moves between the immediacy of the concrete tactile experience and the persistence of the memory of the sensation, between the exactness of receiving and the incongruity of coagulating.
plein air is a dance of ruins, it is the continuous mending of those subtle materials that vibrate after a separation, in a fabulation that oscillates between adherence and detachment, echo and metamorphosis, data and mirage, in search of an implied contact that overcomes the spacing between vision and touch.

plein air originates from the experience of artistic experimentation with childhood and from the use of tactile practices as a tool for contact with the self and encounter with the other. Specifically, plein air expands that space immediately following the removal of the object of the touch, when the concrete sensation still persists on the skin and images, bodily desires, personal associations begin to be produced. The coexistence of concrete data and imaginative dimension that the experience of touch allows is able to create situations that are now familiar, now discordant, with even very sudden shifts that give rise to incongruent imaginaries, unexpected synesthesias, in a continuous adhesion to detachment. Just as a child when playing ball without the ball may seem caught in an unreal world, so the rigor and precision that he will put into play will allow us to faithfully follow the magical course of his ball, immersing us in a corporeal and active thinking, in which the absurd is possible, and in which the subtle materials of fantasy can ‘fill the air’ suggesting new, miraculous, non-coinciding possibilities.