Performing Landscapes
For Performing Landscapes Elisa Zuppini creates a piece for the student of 3rd year Expanded Contemporary Dance in Amsterdam. The project is a collaboration between the Academy and WhyNot Festival.
In this frame she researches ways of relating to the environment that are counter forcing each other, proposing realities of hyper connection and alienation, of making and destroying, of listening and neglecting. The work aims to highlight an undergoing confusion in our relation to nature while also investigating fresh modes of affect between the bodies and the landscapes.
This process was inspired by the previous creation ‘Landscaping’ where Elisa explored these ideas in collaboration with Nica Roses.
Concept and choreography | Elisa Zuppini
Sound | Oceanic
Performers | Salya Berraf, Wan-Yu Chen, Elias Clark, Eivinas Dziena, Hannah Fernandes Badura, Alberte Buch GØbel, Balder StuestØl Hansen, Dovile Krutulyte,
Ummi Renteria Wouters, Ana Margaride Tasso de Sousa, Erikas Žilaitis, Meriç Tuncer, Swali Mazzaggio, Alina Lugovskaya, Johan Hogsten, Ida Vu.
Produced by | ECD Expanded Contemporary Dance Amsterdam (NL)
SYNTHETIC DISJUNCTIONS-Site Specific
Synthetic Disjunctions is a piece created both for the theater and for the white box. During 2020 it was also presented in two site specific spaces during the Festival Antidote 1on1, where one audience member at the time was invited to watch the performance. An initiative undertaken under the pandemic Covid19.
It was presented at: NDSM Amsterdam and Kunstlicht Amsterdam Noord.
Performance and Choreography | Elisa Zuppini
Photo credit | Jesse Vanhoek, Ines Agnese
Supported by Dansmakers Amsterdam and ICK Amsterdam Dance Company
SYNTHETIC DISJUNCTIONS
In Synthetic Disjunctions the maker and solo performer Elisa Zuppini explores dance as a visual and textural manifestation. She utilizes her body to encapsulate the experience of dancing into forms as 'abstract objects'. Aware that this very experience is irrepressible, she enlightens the excess that remains uncontainable.
- We have to figure out the body as a texture in space, heavy and dense material that creates new gravitational forces -
Constantly operating through a friction between withhold and manifestation, Zuppini gives life to a series of embodied forms like living objects. Something eerie is activated in space and an irregular architecture unfolds by default as a result of internal relational logic.
Synthetic Disjunctions is a piece in development that Elisa started working on during the pandemic at New Adventures, a residency supported by Ick Amsterdam and Dansmakers.
Concept and choreography by Elisa Zuppini
Object by Sajoscha Talirz
Dramaturg Bruno Listopad
Photo credit | Thomas Lenden
HIMALAYA
In Himalaya, choreographer Elisa Zuppini continues her research into the material and affective dimensions of the body and the understanding of reality as a complex entanglement of relational systems.
This time she does so by drawing inspiration from contrasting elements: she thinks of the extemporaneous and textural features of the geological realm, the fragmented temporalities of the digital space and the repetition and obsessiveness of mechanic bodies. In Himalaya she explores the clash between these systems, as if they were moving tectonics that collide but do not completely fit with each other. This can be seen as a metaphor for how these systems possibly operate in our perception: disjointed, related, forced and unsettled.
In this work Zuppini researches about the manifestation of these clashes both in the choreography and in the body itself. A body that constantly strives to exceed its inner and outer spaces.
In collaboration with producer and DJ James Whipple (M.E.S.H), these ideas are explored in a constant relationship between sound and movement. Whipple's sound interventions, sourced from both the geological and the synthetic, act as splinters and tectonic waves, encountering the body, reflecting off of it, or bypassing it completely. As sound and body continuously align and diverge, the attention of the audience oscillates between a focused center and a larger field of resonance.
Concept and Choreography | Elisa Zuppini
Performer | Federica Dalla Pozza
Live sound | M.E.S.H. (James Whipple)
Outfit | Avoidstreet (Eduardo Leon)
Dramaturg | Bruno Listopad
Production assistance | Ludovica Daddi
Camera and editing | Paulina Prokop
Photo credit | Alwin Poiana
Produced and supported by ICK Amsterdam, AFK, CC Heidelberg
The piece was presented at:
Tanzbiennale Heidelberg, July 2021
Theater de Meervaart, October 2019
BODY drop event, October 2019 (Try out)
Antidote Festival, June 2019 (Try out)
Transmaterial 0X2
Transmaterial 0X2 was developed as the third of a trilogy, following Transmaterial and LIIL, two piece created for the theater and with an idiosyncratic movement quality and aesthetics that mainly sees the body reorganizing around the asses of the knees. The piece was directly influenced from those and further developed for underground club spaces with experimental electronic music.
The two bodies appear in the midst of the public, as two entities rising from the forces of the space itself. Forceful and dis/organic, the bodies plunge in sound and disrupt the flow of the event.
The piece was first presented in clubs, it was then invited to be presented in different contexts: galleries, museums, magazine events and academic lectures.
Choreography | Elisa Zuppini
Performance | Federica Dalla Pozza, Elisa Zuppini
Outfits | Eduardo Leon
Performed at Subbuculctha Horses in the void, De Apple, Van Gogh Museum, Het Heem x HardHoof anniversary, Art et Amicitiae Global Warm up, Body DROP x ADE, Groningen Friday Night - Netherlands 2019
Photo credits | Juliette Lizotte, Giovanni Giaretta
STRAXXE
STRAXXE (cloth in Venetian dialect) is a site specific performance created for The Picnic Pavillon at Casa Punto Croce, located in Venice. The event take place during the opening of Biennale di Venezia as a counterforce from venetian artists against the art consumerism that the city undergoes in that period.
In Straxxe the performer Federica Dalla Pozza becomes a machine sensor of space that reacts and relate to everything she encounters, transforming accordingly.
The body is a program for outdoor and indoor space consumption, an hypersensitive machinic flash that register her sensory environment, while experiencing and digesting it, she creates new outputs.
Moving from the open space of the small square in front and entering inside in the historical house, she disrupt the public space, magnetize people inside, become part of the furniture and eventually gets activated again when the music starts to play during the night, disturbing and disrupting the social activitities.
Concept and choreography | Elisa Zuppini
Performance | Federica Dalla Pozza
Outfit | Eduardo Leon
Photo credits | Marco Bizzotto
TRANSMATERIAL
Transmaterial is a meta-organic and multi-directional space where you can slime or get stuck, dissolve, elevate and dance.
Transmaterial explore a self choreographic system where the material and affective relation in between bodies, body parts and the body of the audience, construct and unfold the event every time differently.
Concept | Elisa Zuppini
Performers | Tamir Eting, Gerko Farkas, Federica Dalla Pozza, Elisa Zuppini
Avisor | Bruno Listopad
Photo credits | Nellie de Boer
Produced by SNDO School for New Dance Development (Graduation Festival)
LIIL
LIIL presents an unfolding reality of transformative bodies. By entering a hypersensitive state of perception, the performers sense themselves and the space between the fictional and the actual: the body as a decentralized system of embodying force, place as an ever-moving site, the skin as a giant landscape, materiality in constant re-organization and the gravity as a re-configurable force.
By allowing micro and macro elements to enter into relational movement, a system of systems is initiated generating unpredictable, fragmented and oblique (mis)alignments through the sensory chaos. The body experiences itself as a materiality that transforms irregularly in time, while the viewer is invited to slip between different dimensions of materiality.
LIIL is a culmination of various elements of Zuppini’s artistic research, inspired by an unceasing quest for the complexity of the invisible forces that constantly habit and encounter the bodies.
Review of LIIL by philosopher and critic Samo Oleami, at Spider Festival 2018, Lubljiana (SL)
Concept and Choreogrphy | Elisa Zuppini
Performers | Federica Dalla Pozza, Elisa Zuppini
Soundtrack and mix | Elisa Zuppini
Sound advisor and design | Elisa Battistutta
Dramaturgical advisors | Renèe Copraji and Nikola Knevic
Light design | Marteen
Photo credits | Matjias Luckic, Nellie De Boer
Produced by SNDO School for New Dance Development
Fontana dei Movimenti
Fontana dei movimenti is a piece at the threeshold of both sci-fi and ballet genre. From unity to shape, to separations, the work aims to search for the source of movement from which form can rise.
The project was a collaboration in between SNDO choreography department and MTD dance department at Theaterschool in Amsterdam.
Concet and Choreography | Elisa Zuppini
Performers | Ana, Andrei, Christian, Diana, Evgenia, Pilvi
Advisor | Michele Rizzo
Produced by SNDO and presented at Veem House for Performance, Amsterdam 2017
Singularities on the edges of nowhere
Singularities on the Edges of Nowhere is a piece created from the event, an intra-action between the choreographer and the 9 dancers.
Commissioned by Open Flr and presented at Villa Strozzi in Florence (IT) in the summer of 2016.
Elisa was awarded by Opne Flr as young talent in choreography 2016.
Concept and Choreography | Elisa Zuppini
Performers | Casey Brown, Dixon Li, Kimberley Lippe, Claire Laske, Abigail Santana Medina, Emmanuel Ponce Martinez, Isaias Fitch Vegas, Noemi Sanchez Cardenas, Brenna Nopenz
Photo credits | Valeria Cosi
Might be dancing / manifested perceptions
Might be dancing / manifested perception is a manifesto for dancing. Three performers from diverse backgrounds, encounter in an swirling dance in which their qualities get to mix. With contamination from Ballet, House and Russian dance they meet to give life to a contemporary dancing: a dance of network, speed connection and disorganized identities.
Treating the body of the performers as an archive and working the movement from an idea of vectorial forces, the qualities get queered and extended from the bodies into the whirling chaos of the piece. The work thus builds on shifting intensities, always resisting to the verge of collapse.
Concept and Choreography | Elisa Zuppini
Performers | Mami Kang, Imola Nagi, Alexey Shcolnik
Advisor | Matej Kejizar
Mentor | Bruno Listopad
Sound mix | Elisa Zuppini
Light design | Pedro Correia
Photo credits | Nellie de Boer, Anne Smeets
produced by SNDO school for new dance development
Might be dancing / manifested perception - mentor report by Bruno Listopad
Elisa had a wonderful approach to the assignment and a great work attitude. She made a performance that seems to derive out of a curiosity about how her own perception is wired, engineered, distributed, and reconfigured when opening herself and entering in conscious relation with the materials of the world, either virtual or actual.
This bold work has been obviously very fruitful to her development as a choreographer but also to her dancers and the development of the discipline itself, but not solely -- I will attempt to touch upon that later on.
Yet why is Might be dancing / manifested perception research so valuable?
Because this contributes to the revaluation of movement into performing arts after this has been partly marginalized in many reflexive choreographic circles as merely redundant. Coincidently she does so after movement has been intensely valued in affect and activist philosophy. She does not do such out of disciplinary essentialism, or a sort of modernist revivalism. On the contrary, she looks upon this through the lens of hybridism and as a relational technology that operates continuously beyond and through a logic of representation. She diagnoses movement by hypersensitizing herself to the sensation as the object itself.
Practically speaking, Elisa worked intensely on drafting and reconfiguring diverse types of scores that activated bodies into unpredictable and fragmentary responses. She did so by attentively examining her performers in relation to herself, the site as a moving environment, and by queering their own movement recollections, and projections. But also by being sensitive to non-human factors -- light and sound were also perceived as vectorial agents -- choreographic objects that incited performers and the public to experience sensation as abstraction.
Elisa´s choreography demonstrates that nothing is static and all is dynamic. Yet how could she manage to create a work that stands in its own legs out of an overwhelming field of moving potential? By building hierarchies through scores that filter the chaos of the world into a provisional sense order threaten by collapse, by subtracting and composing away some parts, and juxtaposing others through counterpoints that build new hierarchies out of the old. By deliberately manipulating synchronous registers, modalities of attention, the embodied collective cultural memories of her performers and by puzzling these within a whole always at the verge of being subsumed by chaos.
She researched movement constructively through the making of a choreographic monument dispossessed of the pathos of the monumental. Yet why call it a monument then? Because the compositional compound could stand up firmly under a tensed precarious balance producing an event.
All in all, Elisa worked devoted, perhaps passionately would be a more accurate term. She remained empirical just like an engineer or even a scientist analyzing lived movement and relation as the only reality. She has undoubtedly developed terrific and highly empirical research important for her, but also to the revaluation and better comprehension of movement in our lives. This is the site in which I perceive her operating, but of course, perception is not objective as this is relational movement too. The only thing we can be sure to ever know is relation itself.
Bruno Listopad (2016)
Dancing Plague_ Intoxication, Acidity, Compression
In collaboration with Michael Scerbo
Movement is inescapable. During the dancing plague the body took over; the control exercised by the mind was overthrown, and an incessant movement took centre stage. A somatic condition echoing the Bacchanalia where the genderfluid deity, Dionysus, was celebrated by reaching a state of ecstatic frenzy through dance and intoxication. Resounding, in turn, in a more contemporary ritual: the rave. The body therefore becomes a channel of all those forces which are constantly around us, soaking them up, and opening up to a continuum of intensity and affect.
Moving on the echo of these events, performance collaborators Michael Scerbo and Elisa Zuppini import the sequential alchemy of the club into the space of the gallery, experimenting with what substances, dance and environments can do to bodies’ sensory systems and what kinds of kinetic activity and relationality–physical, affective, psychic, architectural–these shifts produce, especially in the aftermath of the recent forceful halt. How can we host movement again?
Intoxication, as a form of a public program to the exhibition and para-ritual, weaves together different formats (sensorial lecture-performance, workshop, performative act) offering a multi-sensorial journey into different worlds and temporalities.
Bergamo, March 2022 (IT)
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CREDITS
Concept and Performance: Michael Scerbo & Elisa Zuppini
Intoxication, Acidity, Compression, 2022
Choreographic score: Elisa Zuppini
Performed by: Federica Dalla Pozza
Sound design: Katatonic Silentio
Pants: AVOIDSTREET
Dancing Plague is an exhibition curated by Panos Giannikopolous
GAMeC, May 2022
Foto: Antonio Maniscalco, Elisa Zuppini
Courtesy GAMeC - Galleria d'Arte Moderna e Contemporanea di Bergamo
Landscaping
In collaboration with Nica X Festival Why not
In the frame of Landscaping, organized by Whynot Festival, 10 artists come together to create a performance on the topic 'Body and Landscape'. In collaboration with Nica, Elisa Zuppini creates her contribution.
.. somewhere trying to de-romanticize nature but after all ending up in a romantic tension with the nature of reality 〰️ reckless bodies ➰ synthetic despair ➿ emotional sculptures 🥀
By Elisa Zuppini and Nica
Idea & Production: WhyNot (Daisy Benz & Marjolein Vogels)
Concept: Job Oberman, Theun Mosk, Dario Tortorelli, Elisa Zuppini & Nica Roses
Choreography: Dario Tortorelli, Elisa Zuppini&Nica
Sound Installation & Music Composition: Job Oberman (Oceanic)
Scenography: Theun Mosk
Landscape Architect: Anna Maria Fink
Publication: Daphne Bakker
Publicity & Production Assistant: Vera Goetzee
Photo credites: Nick Chesnaye
Reorienting The Fall
A collaboration with Christopher Tym
In their first experiment together choreographer Elisa Zuppini and visual artist Christopher Tym investigate the relation between a body and a camera in motion.
As these two bodies amplify and inform each other’s movements, they begin to produce an altered sense of a moving environment between them, something beyond representation of the human body and its surroundings - they become extensions of each other. There’s a sense of free fall in this relationship, there is no up or down and that all movement has the potential to be destabilized and reoriented in multiple directions simultaneously.
The body sees the camera, the camera sees the body.
What is inside the frame dances together
The short film premiered at Cinedans Dance Film Festival in March 2021, Amsterdam
Choreographer | Elisa Zuppini
Visual artist | Christopher Tym
A collaboration initiated by Jacuzzi and supported by Mondrian Fonds. Filmed in Ascoli Piceno.
Bare Time
A collaboration with Koen Bartijn
In Bare Time three performers inhabit the space of the gallery. The daily activities of practicing, dancing, and resting are performed within the space. Looped, these activities succumb to a bare choreographed pattern in which nothing new seems to enter. At the same time, the shared space in which they’re performed provides the potential for micro-events to influence the flow, creating raptures in the routines and emancipating them. While their times and activities are partitioned, there is a constant search for a common time.
Concept | Koen Bartijn
Choreography | Elisa Zuppini
Performance | Federica Dalla Pozza, Doke Pawels, Elisa Zuppini
The performative role of Jewelry
A collaboration with Lavinia Rossetti at Antwerp Academy for Fine Arts
What is the role of the body in relation to jewelry? Which sensations can jewelry provoke to the body and how can those change or affect the self-awareness of the wearer?
The conversation between jewelry maker Lavinia Rossetti and choreographer Elisa Zuppini started from general reflections about the relation between body and jewelry. Their research has been developed by observing the experiential state of the performer when entering in a relationship with diverse types of objects and materials, while also looking at their responses. To be able to observe this relationship they created a system composed of steel springs and magnets. The magnets are arranged in space and on the body, while the springs are partially or totally free between the body and the magnets.
In a nutshell, the body, springs and magnets create a relational cluster. The body engages in this relation through de.sy.re, a movement system developed by Elisa Zuppini which functions through logic of sensations and where the body is considered as an hypersensitive subject. As the body reorients itself, springs and magnets enact their response. This ever-moving and sensorial system generates constant shapes in transit, changing and reshaping, exploring questions about wearability and design within the field of jewelry.
The result of this crossed investigation between their practices aims to propose an analysis of body and jewellery as a relational system where both subject and object are considered active agents for each other.
The outcome of this research have the form of a video that will be presented at the Royal Academy of Fine Arts in Antwerp, during Body and Material Reinvented open weeks. October 2021.
Photo credit | Lucy Plato
Video editing and camera | Paulina Prokop
Body DROP -
The material and political gesture of DJing and dancing
A curation in collaboration with Noha Ramadan for ICK and ADE (Amsterdam Dance Event)
Why does it feel so exciting and important to dance together, and what is really happening when we do that? In this conversation, dancers, DJ’s and artists will share thoughts about their practices and discuss the ways in which dancing becomes a potentially subversive act. How might the processes of movement - of bodies, attention and perception - reflect and re-invigorate processes of change and transformation in personal, social and political realms?
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Curation | Noha Ramadan and Elisa Zuppini
Performances by Isadora Tomasi, Setareh Fatehi, Elisa Zuppini
DJs | Nocturnal Femme, Fatima Ferrari, Ziur
Production | ICK Amsterdam Dance company and ADE Amsterdam Dance Event
Relational Field_concept proposal
Written by Elisa Zuppini (2018)
Vertigo is an intensified relational field ruled by sensations, where the usual distribution of senses is displaced and wired. Its components, actual and virtual (human and non-human), are hypersensitive matter that enter in significant affective relations, generating unpredictable, fragmented and obliques mis/alignments through the sensory chaos.
Everything is matter. Everything senses everything, therefore everything is potentially in relation.
However the elements enjoy independent ownership and features and they distribute their relationships through selective sensory attention. Nevertheless, in turn, each element is considered as a porous mass of independent entities (open by thresholds in its precarious boundaries) that can agglomerate and reshape, functioning as a system where the will is entangled and complicated.They can get involved in relations in its totality as well partially, triggering infinite possibilities of relational movement. So doing, as well their features/materiality can potentially mix or even dissolve in the swirl.
The elements mutually function as performers, events, agents and attractors for each other, even for themselves (being self-related systems). Enjoying specific characteristics of its being a system (system of being a plastic cube, human matter, a virtual force, audience etc.) they have different and limited range of possibility and features of: materiality, movement and aesthetic. When entering in a relation with each other this range augment and stretches, transforming the way they behave and of how, themselves and we, perceive them.The re-orientation of each component, in the actual and abstract spatial dimension, is therefore destabilized. They are pushed to experience the vertiginous and to constantly re-align and recompose in unpredictable modality in order to filter the chaos and to resist to the verge of collapse. (Is important to already point out that this extend to the audience as an element in itself).
The idea is obviously not literal, the creation activates through imaging, sensing and visualizing as main practices. However we can say that those operations are material too.When speaking of the human body this course is more easily detectable and me, as the maker, can analyze the process in relation to my own body.But how this apply to non-human elements and even to the abstract ones? How do matter feels and move? How can we feel matter feeling?
In my work I try to create conditions and space for this unknown (to us) to manifest. In the role of maker I put myself as well in an hypersensitive state towards the elements. By observing their features and selecting the involved material, I allow a sort of collaborative creation. Also, by crafting and scoring certain part, juxtaposing and cutting away others, I leave wide but defined space/time where those relations can just exist, transform each other and transform the experience of the audience.
Not all the relations actualize, would be impossible. Moreover this is fundamental in order to make the space thick of potential, awaking a sense of desire. At the same time the relations will always overlap (in different intensity through the piece). The audience will be challenged to design its own experience, as well to operate a selection through their sensitive attention.
The final aim is not to show how the relation works. On the contrary I am interested in how all this manifest in an event, affecting the audience, making it feel part of it. Leading it in a vortex where sensations triumph, possibly, beyond language.
De.sy.re.
(decentralized systems of relation) - a movement system developed by Elisa Zuppini
Written by Elisa Zuppini (through 2018-2020)
De.sy.re. (decentralized systems of relation) is a relational technology for performative bodies that operates in between actual and virtual, human and non-human elements.
The technology is based on the principle of decentralization, on moving attention in between points/zones. By decentralizing we activate relations, we shift and move attention, we observe and feel the space in between those zones. It functions through logics of sensation and features the body as a vibrant and transformative material interface, a decentralized system of embodying forces. An hypersensitive and multi-sensory tool for direct experience of its environment which in turn is active and ever moving.
De.sy.re. operates through an idea of space such as relational fields, where all the elements mutually function as performers, events, agents and attractors for each other, even for themselves (being self-related systems). By allowing micro and macro elements to enter into a relational movement a system of systems is initiated, generating unpredictable, fragmented and oblique (mis)alignments through the sensory chaos.
The practice thus builds on layered systems of relations of which the outcome is only partially controllable. In order to free the motion the system constantly requires to be bent, to shift hierarchies in the prioritization of relation, to re-configure in form and function and to feature every relation as unique. The technology brings together a multiplicity of movement systems that are not necessarily consistent with each other. In this sense the technology is in constant movement as well. It is not based on dogmatism but, by its very nature, on the constant transformation and re-understanding of its principals. The only principle that does not change is that of relation, even if it means non-relation. There is always more than one, even if the object in question is the body itself. At the same time it does not reject unity.
By moving attention we create potential space, we allow movement to flow and its discontinuity.
De.sy.re. is a practice that questions movement and body though material and virtual lents. Through the technology I attempt to rethink dance from a non anthropocentric vision; movement, activation and orientation as a product of re-configurable systems of forces where the entanglement with diverse types of elements comes to be fundamental. It can be seen as a dance-performative (or even choreographic) practice but also as a tool for everyday life: for orienting and relating and for opening our perceptual understanding to our environment. To filter, block or absorb information, to creatively engage with our material body and to subvert micro power structure.
WORKSHOPS
With her research De.sy.re Elisa is invited to give workshops and teach in different contexts and academies - within the fields of dance and choreography, visual arts and research groups.
Elisa understands the space of the workshop as an oscillation, a movement that cracks open a temporal and spacial frame of exchange - while offering as a ground the principals of her practice and research. Those being concepts articulating around the affective dimensions of the body, materiality and relation_of how to comprehend movement in all its aspects and to think it in relation to the various disciplines and spaces. In this sense she always repurpose the form of her workshops with specificity in relation to the various fields, geographies, subjectivities and discourses that thus are entangled.
Objectives: relational movement | attunement | materiality | micro and macro subjectivities | sensations as reconfigurable forces;
Sharing technologies: task based exercises | somatic practices | conversations | videos | visual inputs as abstract mediations | sound;
Among other places Elisa thought workshops and shared her practice at SNDO School for New Dance Development, Artez Aki Academy for Visual Arts, Rietveld Acdademy (NL) - Antwerp Academy of Fine Arts (BL) - FAICC professional course for choreography (PT) - Open FLR intensive dance lab (IT).
Elisa Zuppini (b. Ascoli Piceno 1990) is a choreographer and dancer originally from Italy. She graduated from SNDO- School for New Dance Development in Amsterdam, where she is currently based.
Started dancing at a young age, Elisa was always driven by an unceasing passion for the art form of dance and its generative philosophical aspect. Today, her choreographic research articulates around notions of relational movement and materiality in relation to the body and its affective dimensions. She is interested in the body as a transformative technology through which we can potentially access new (or lost) perceptions of reality.
In the past years, her practice became the ground for artistic exchanges with various visual artists, writers, and dancers, and has been disseminated through workshops.Her work is presented both in theatrical and non theatrical venues - such those of the gallery, museums, dance clubs and academies; contexts for which she creates in a dialogue and through which she constantly re-understand dance from different gazes and postures.
In 2016 she was awarded the Young Talent in Choreography from OpenFlr, Florence, and in 2018 she obtained a scholarship for the dansWEB residency program at Impulstanz, Vienna. Since 2019 she is one of the members of Jacuzzi, a convergence of Amsterdam-based choreographers. In the same year she created Body DROP, a dance event co-curated together with Noha Ramadan for ICK x ADE. She created the works Himalaya, Synthetic Disjunctions and TRANSMATERIAL among others.
Elisa Zuppini - Dance, Choreography & Performance
1990 Ascoli Piceno (IT)
Lives and works in Amsterdam (NL)
Previously associated artist at ICK Amsterdam Dance Company
Current member of Jacuzzi, Amsterdam
Education
> EMC Electronic Music Course
Sae, Amsterdam (NL) 2019
> SNDO Bachelor in Choreography
Theaterschool, Amsterdam (NL) 2014 - 2018
> FAICC Professional Formation in Choreography and Performance
Teatro Campo Alegre, Porto (PT) 2014
> Professional Formation in Contemporary Dance, Ballet and Performance
Italy, Austria, France, Belgium, Turkey 1997 - 2013
Own works + performer in her own works
> Performing Landscapes, with 16 dancers from the program Expanded Contemporary Dance, Amsterdam (NL) 2022
> Synthetic disjunctions (work-in-progress), first presented at Dansmakers New Adventures, August 2020, Amsterdam (NL).
Performed by Elisa Zuppini
> Himalaya, with composer M.E.S.H. premiere at Theater de Meervaart, October 2019, Amsterdam (NL)
Performed by Federica Dalla Pozza
> STRAXXE site specific performance, at Picnic Pavillon in Venice (IT), May 2019
Performed by Federica Dalla Pozza
> Transmaterial 0X2 Created for Subbucultcha Horses in The Void, Amsterdam (NL) 2019
Performed by Federica Dalla Pozza, Elisa Zuppini
> TRANSMATERIAL premiere at Frascati Theater - 2018, Amsterdam (NL)
Performed by Federica Dalla Pozza, Gergo Farkas, Tamir Eting, Elisa Zuppini
> LIIL premiere at Frascati Theater -2018, Amsterdam (NL)
Performers by Federica Dalla Pozza, Elisa Zuppini
> Fontana dei movimenti premiere at Veem House -2017, Amsterdam (NL)
A piece for 7 dancers
> Room Xelle premiere at Theaterschool -2016, Amsterdam (NL)
Performed by Elisa Zuppini
> Singularities on the edges of nowhere premiere at Villa Srozzi -2016, Florence (IT)
A piece for 9 dancers
> Might be dancing / manifested perception premiere premiere at Theaterschool -2016, Amsterdam (NL)
Performed by Alex Scholnik, Mami Kang, Imola Nagy
> Over the East, near the West premiere at Theaterschool -2015, Amsterdam (NL)
Performed by Andrea Pisano/Estefano Romani, Elisa Zuppini
Collaborations
> In the frame of 'Landscaping' research project by Whynot organization, Elisa creates a performance with Nica
Amsterdam BosTheater 2021
> Bare Time dance performance, in collaboration with Dramaturg Koen Bartjin
Work for galleries, presented at W139 and Punt WG, Amsterdam 2019-2021
> Reorienting The Fall video work, in collaboration with Visual Artist Chrystopher Tym
Premiered at Cinedans, Amsterdam 2021
> The Performative Role of Jewellery, in collaboration with Jewellery Maker Lavinia Rossetti
Research project at Royal Academy of Fine Arts, Antwerp 2018-2021
> Solid Dance dance performance, in collaboration with Choreographer Sigrid Stigsdatter
Premiere at One Night Stand Dansatelier, Rotterdam 2019
Fashion and video direction
> Movement director for Caterina Barbieri's music video Broken Melody, Milano IT 2022
> Coordinator director for Magliano's Fashion show SS23 Milano IT 2022
> Movement director for Avoidstreet Fashion show 'Piazzale Lotto', Amsterdam NL 2022
Curation
> Body DROP event- The Material and Political Gesture of Djing and Dancing; curated in collaboration with Choreographer Noha Ramadan
At ADE Amsterdam Dance Event, Amsterdam 2019
> It's waiting to be created improvisation evening, with Lester Arias and Nikki Niklas Bloomberg
at Oorsprong, Amsterdam 2015
Awards/Scholarships
> DansWeb Long Life Burning, Elisa is selected to participate in a summer residency of 5 weeks at Impulstanz Festival
Vienna (AT) 2018
> Awarded Young Talent in choreography 2016 by Open FLR, where Elisa is invited to make a work for 9 young professional dancers
Presented at Villa Strozzi, Florence (IT) 2016
Residencies
> Residency at Campus Porto PT, Spring 2023
> Residency at Dock 11, in collaboration with composer M.E.S.H. James Whipple, February 2021, Berlin (DE)
> Residency at Dansmakers New Adventures, March 2020, Amsterdam (NL)
> Residency at ICK Amsterdam Dance Company, July/Sept 2019, Amsterdam (NL)
> Residency at Choreographic Center Heidelberg, May 2019, Heidelberg (DE)
> Residency at Teatro Campo Alegre, Sept/Oct 2017, Port (PT)
Teaching and sharing her artistic practice De.sy.re
> Artez AKI, October 2021, Enschede (NL)
> SNDO School for New Dance development, Amsterdam 2020/2021
> Royal Academy of Fine Arts Antwerp, October 2020, in the frame of Body and Material Reinvented researchers; Antwerp (BL)
> Rietveld Academy of Fine Arts, February 2020, Amsterdam
> FAICC professional course in choreography and performance, Porto (PT) 2020/2021
> Jacuzzi Amsterdam, 2018/2019
> ICK, workshop with ICK Dance Company, Amsterdam 2019
Works as performer for others
> Noha Ramadan research presentation at Tec Lab Theaterschool
2019, Amsterdam (NL)
> Museo De Agua by Rodrigo Sobarzo at ADE Amsterdam
2018, Amsterdam (NL)
> In many Hands by Kate Macintosh at Frascati Theater
2018, Amsterdam (NL)
> Renaissance by Marten Spangberg at Stedeljik Museum
2016, Amsterdam (NL)
> Magic Magazine by Ida Katinka at Frascati Theater- graduation work
2016, Amsterdam (NL)
> i feel like a water-dispenser of a hamster-cage by Ahmed El Gendy
2016, Amsterdam (NL)
> Manualis in vacuo by Antonia Steffens at Academy for theater and dance
2015, Amsterdam (NL)
> Maria Hassabi for Sndo at Doc zal
2015, Amsterdam (NL)
> bei by Chanbei Duan at Academy for theater and dance
2015, Amsterdam (NL)
> Maktub noir, Elisa is a dancer in the italian dance company directed by Pietro Pireddu
2012-2014, Florence (IT)
She presented her work at: Veem House for Performance Amsterdam (NL) 2023; GAMeC Gallery for Modern and Contemporary Art Bergamo (IT) 2022; ECD Expanded Contemporary Dance Academy Amsterdam (NL) 2022; Amsterdam Bostheater August 2021; Tanzbiennale Heidelberg Germany 2021, Julidans Off Venue, Amsterdam 2021 (still to happen); Punt WG gallery, Amsterdam 2021; Critical Costume, Oslo 2020; Het Heem, Amsterdam 2020; NDSM ex warhouse, Amsterdam 2020; Kunstelicht art space, Amsterdam 2020; Dansmakers New adventures, Amsterdam 2020; ICK Fest, Amsterdam October 2019; Antidote Festival, Amsterdam 2019/2020; Groningen Friday Night, 2020; W139 Gallery, Amsterdam 2019; Van Gogh Museum Amsterdam 2019; De Apple art space, Amsterdam 2019; Club OT301, Amsterdam 2019; Arti et Amicitiae art space, Amsterdam 2019; Corrosia Dance Festival, (Almere, NL) 2019; Spider Festival (Ljubljana, SLO) 2018; Uferstudio, (Berlin,DE) 2018; Frascati Theater Amsterdam 2018; Dansmakers (Amsterdam,Nl) 2018, Gelderland fabriek (Culemborg, NL) 2017; VRJIDAG (Groeningen, NL) 2017; Villa Strozzi (Florence, IT); Theaterschool (Amsterdam, NL); Baudhuis Theater (Amsterdam, NL); Teatro Campo Alegre (Porto, PT); Magma Events (Florence, IT).
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