Performance & the City

Performance and the City, curated by Maria Marzia Minelli and Claudia Santeroni, showcases the work of Annamaria Ajmone and Claudia Pagès Rabal: these performing artists give life to a comparison between their own bodies, the architecture of Carlo Scarpa and the sculptures in the Castelvecchio Museum collection.
The body is an instrument of experiencing and interpreting space, following poetics where dance, performance and theatre are released beyond their semantic boundaries.

Annamaria Ajmone captures the stimuli she receives from architecture, sculptures and the audience attending the performance. What appears here merely as unused space actually becomes a perfect, fluid stage for the artist, whose gestures and movements are assisted by the garments specifically designed for the occasion by Fabio Quaranta.

Claudia Pagès Rabal’s performance came in to being within the framework of her long-standing research into the gerund, the unfinished and a-personal tense typical of legal and logistic language. A continuous and de-humanized present is translated into a choreography of gestures searching for a throw-away that can defuse what the artist defines as “the immobility of stable movements”.

Annamaria Ajmone is a dancer and choreographer. She graduated as a dancer at the Civic School of the Paolo Grassi Theatre in Milan.
Her research focuses on the body, seen as a malleable and changeable material capable of transforming spaces into places by creating temporal parallels and super-impositions.
Her productions involve collaborators with whom she shares the creative process, thereby embracing different images and visions. She is an associate artist of the Milan Triennial Theatre 2019-2024.
Claudia Pagès’ art weaves a linguistic web of micro-narratives, queer poetry and rhythmic discourse as she explores the possibilities of staging the voice through music and the presence of bodies.
She is particularly interested in distribution, circulation and consumption systems. She often works by recording thoughts or jotting down snippets of conversation heard on the street on her phone, swapping back and forth between language and translation to arrive at a kind of booklet where graphics and typography also play important roles.
These collected compositions are transformed into scenic exhibits where the objects accompany voices and movements sung by Pagès herself as well as her collaborators.