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To experience absence, we have to be ready to have no sensory input, encounter no resistance, and make no touch with the absent entity. That isn't to say there is no access to it. It must already be a part of our corporeality, of remembered bodily practice to be able to sense it as missing. We cannot miss what we don’t know.

Dealing with Absence crosses different media: dance, cinema, virtual reality, and social media. A tecno-poetic work that wants to bring attention to how technologies are changing the rules of interactions between bodies, creating both new limits and new possibilities.

What Dealing with absence offers the viewer is the vision of a private, intimate, and personal journey that the dancers involved in the project of Margherita Landi and Agnese Lanza perform wearing VR headsets and dancing choreographic scores of films that tell and decline the theme of absence. (Tarkovsky's Mirror, and Bergman's Persona, to name a few).

The audience can witness this journey from afar, from behind their own screen, and the awareness remains clear all the time that the dance would continue - and therefore will continue - even without anyone watching it. The viewer never sees anything that appears to the dancers through the viewers: it is within the performer that something happens that the body passes through making it visible. A solitary journey even when there is a duet the dance becomes dialogue: there is no common physical space, the rooms and places remain separate, and no contact between the bodies that live at the same instant in a defined and indefinable elsewhere. experience.

And dancing the experience appears to be the deepest way to live it.

The compositional fragments are interrupted by the occasional appearance of some frames, thought captions, and film images - a simple Instagram - in a game of acknowledgments, mirrors, and reflections.

Infinity in a sea of ​​pixels ...

Present stage of this work: Nearly final version

Choreographer and media artist graduated in Cultural Anthropology. From 2010 her artistic work began to focus on practical and theoretical studies on perception and attention, and then extended from 2014 to a reflection on the body and technology, on the transformation of rituals and emotional processes implemented by digital interaction. Over time she has explored Augmented Reality (AR), Virtual Reality (VR), Projection mapping, and various social media. In the last three years, she has focused on VR (Virtual reality) for this technology's embodiment potential, studying choreographic transmission techniques through the VR headset. In 2020 she was selected by Biennale College Cinema VR for a formation, and in 2021 her work “Peaceful Places” won the Auggie Award for Best Art. more...

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