On September 29, 2021 Habitans was performed at the San Leonardo Theater of Bologna as part of the CCI Days 2021 – Creative and Cultural Industries Festival, an event promoted and hosted by the Research Center for Interaction with the Cultural and Creative Industries (CRICC) of the University of Bologna.
The purpose of the CCI Days 2021 is to highlight how research, innovation, experimentation, and enabling technologies can serve institutions and companies, by creating new products and services, allowing cross-overs in different productive sectors, and developing new economies.
The CCI Days 2021 was an opportunity to present the products, services, and interactions introduced during the first start-up phase of the CRICC through workshops, meetings, videos, and performances.
Dialogues with curators and managers of innovation and creativity centers, across national, regional, and international networks have contributed to building links with other European creative communities so as to boost the impacts and effects of these relations.
Habitans is a performative and conceptual installation produced by rapso, curated by composer, Lillo Morreale, and performer, Cristian Mezzo. It is an investigation of spatiality and rationality through performance, and aims to explore the primordial values of impulsive sharing: the meeting of these two concepts to create an opportunity for knowledge and mutual adaptation that inevitably evolves into cohesion.
Video: Marina Fastoso
By using different forms of art, the artistic performance can serve as a catalyst to enhance awareness of the most vulnerable challenges our society faces and empathically connect with the audience.
The ritual sanctity of ‘dwelling’ lies in the continuous tension in merging different inputs in centripetal rhythmic energy that ‘moves’ the performer, while simultaneously bringing the spectator into the heart of the performance to eventually dissolve uniformly into the environment and spatial landscape. Habitans reveals the will to delve into the meaning of humanity, devoid of culturally imposed superstructures such as words, authority, and doctrines.
Here, the unseen strength is the anarchic sound-space-body relationship.
The ‘settlement’ in the space is brought on by the urgency to find more profound and spontaneous connections inside and outside a prepared score. The artists bring on to the stage, between co-presence and contamination, a performative act that liberates the most ancestral tensions within a changeable container-space, a space that serves as a playroom in which to share and re-elaborate solicitations and suggestions, as a continuous and never definitive act.
The performance is a profound appeal to the connection between inhabitant and inhabited, and invites the audience to reflect on the ecological value of occupying a space or an environment. Thanks to the trans-artistic performance, the spectator finds themselves retracing the history of the human being on earth, up to reaching an analytical phase that is dedicated to the very sustainability of our habitare (inhabitation), as a physical occupant of natural space.
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