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Martina Rota
Curated by spazioSERRA
Critical text by Giulia Parolin
On display 14-15-16-20/10/2021, at 19:00
Opening Thursday 14/10/2021 at 19:00
Lancetti railway station, Milan
Martina Rota (Bergamo, Italy, 1995) was born in Bergamo in 1995. During her studies at the Brera Academy of Fine Arts in Visual Arts Department she begins her artistic research characterized by a strong multidisciplinarity; for her the medium always answers the question what is necessary? She considers her job as an opportunity to connect with space, ask questions and reflect on common feelings. In 2016 she meets and works with Boris Charmatz who together with Daniele Ninarello influence her choreographic retro world. In 2017 she studied at the SNDO school for new dance development in Amsterdam, in 2018 joins Da.RE systems dynamics for broadcast of contemporary performing arts directed by Adriana Borriello. From 2019 to 2021 she takes part into the research project supported by the Mic, Incubator for future choreographers c.i.m.d directed by Franca Ferrari with the tutoring of Daniele Ninarello, Davide Valrosso and Marco D'Agostin. She currently continues her artistic research between Stockholm and Milan where she manages and curates together with Giulia Parolin and Stefano Galeotti MASSIMO a contemporary art space based in via degli Scipioni, 7 in Milan.
Giulia Parolin (Bergamo, Italy, 1995) is an art theorist and curator who works in Milan. Trained in the two-year course of Visual Cultures and Curatorial Practices at the Brera Academy of Fine Arts, she has added to her academic career the work of assistant at the Viafarini DOCVA Contemporary Art Archive, the curator and journalist Cloe Piccoli and the curatorial duo Francesco Urban Guys. Since 2020 she has been managing and curating MASSIMO, an independent contemporary art space based in Milan, of which she is the co-founder together with Stefano Galeotti and Martina Rota.
Don’t fuck with my hunger
Don’t fuck with my hunger is the durational performance by the visual artist Martina Rota proposed within venerazioneMUTANTE, spazioSERRA exhibition season dedicated to the transformation of site-specific works during their permanence. The performance is visible from Thursday 14 October to Wednesday 20 October in Lancetti railway station, Milan.
Don't fuck with my hunger is the second chapter of I can still taste you, a performance created by Rota in September 2020. The performance started from a very familiar image: two children who put their popsicles in contact to savor that of the other through one's own.
Don't fuck with my hunger arises from the need to ask ourselves what kinds of futures are possible in a moment like the one we are experiencing, where the uncertainty of possibilities blocks the imagination and with it our way of living in the body, in the space. Which kind of relationships can we create to ensure that we regain confidence in the way we live ourselves and each other?
The performance originates from here to build a movement practice in which singing and the composition of small sculptures made of popsicles are also present as expressive languages. The performers who improvise following a series of tasks, have the perception that the gaze, a hand, the weight, the throat are guiding them. It is not a centralized will from the mind, but perception; the state of awareness moves to the points of the body, alternating moments in which the body is present to itself with moments in which the body is present in space, it gives itself and meets the other and finds a safe place in the glass structure of spazioSERRA, home.
Perhaps it is in the continuous movement that we can identify the meaning of doing? Can you find that there?
We need to move, to connect to face the changing age, we need to go back to believing with the skin, to generate another planet based on other relationships, a link between humans and elements, the question is choreographic and that is how bodies also enter into a relationship in their own pre-verbal, pre-representative modality, but at the same time rhythmic, figurative and imaginative. The performers Elena and Benedetta embody the sense of challenge and courage with respect to the future embodied by the new generations.
The best gift I can give to both of us is to instill the awareness of being alive and being able to act: do you want to sing out loud? Sing. Do you want to share the future? Share it. Do you want to give away a few years? Give them. Run. Draw. Dance. Caress. Provide possibilities and lift bans. I have never felt so loved, comforted and constantly growing as in the space that unites us.
From the critical text of the exhibition, by Giulia Parolin