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SYLVIA Di Ianni - MariaElena MASETTI Zannini

Sylvia Di Ianni

versatile artist and visionary, graduate student in scenic design at the Academy of Fine Arts in Rome, began his creative career young, initially investigating through the arts, the dream and its different meanings and to develop in his way a particular propensity towards the expressive communication of the body, developing artistic performances even extreme body art.

Student artist Mimmo Fish (guest artist at four years at the Palazzo delle Esposizioni in Rome in 1976, among the first to have proposed in the 60 performance measures in-Italy), with whom he worked as a performer, in September 2009 organized the first Festival of Italian art Bodyperformance "mutations Profane "at the Teatro di Roma Clock together with artists and Kyrahm Julius Kaiser. His research comes from a detailed study of the psychological dynamics in which children's development branch, in turn, issues such as identification puerile perversion / repulsion with the image of the doll ("GrotterLesque" Lilith Spring-performance artist with a guest Extreme Gender Art in 2009 and Lady Fest Rome), the imaginative universe of a girl imprisoned in his own solitude (project "The Circus of Sulfur Dreams" by Richard Lopez), the Stockholm syndrome, both in the possession of the archetypal figure of the nymph fleeing in a contemporary (performance "Psychic Nympholeptoy-defloration"), both in the dynamics of obsessive claustrophobic ties between victim and perpetrator (performance "Jumping on the ground").

directs artistically designing the entire system of performative multidisciplinary show "SS", a show on the Stockholm syndrome camps of Nazi concentration camps prostitution written and directed by Mariaelena Masetti Zannini, currently toured in several Italian cities. Also participates in numerous events of contemporary art and body art and happenings, including "Female Extreme body art", "Dr Schetcy's anti art school", "7 Naples Tattoo Expo 2010," Towards the other, "" Night Italy and cultural guerrilla "(Mark Fioramanti-Palazzo delle Esposizioni.

Mariaelena Masetti Zannini

author and stage actress and circus calculated among its most significant partnerships that the National Centre of contemporary drama and the directors of the Berlin Theatre Inverso, among the research companies most successful in Europe.

Winner of literary prizes, national media has created works in verse as the Top End (Cinecittà-theater Teatro Manzoni, Rome), thus beginning a journey of intense collaboration with companies such as Cirque du Soleil and Circus Circus Bosch (Biennale Venice), with whom he has brought to light the project was now caprese Wrath.

An unpublished work that starts from his literature search poetic invention to flow through the melting of music, literature, acting and performing.

The idea of \u200b\u200bsetting the story in a natural setting as the cove of Punta del Faro Hull means in its determination to decontextualise a technical language, by causing the breaking of the schematic academic risk invents the power of ideas.

And so comes up again, with the same philosophy for art projects such as those fed by collaborations with the painter Giancarlino Corcos Benedetti, with whom he has led the way for the homeless of Rome (which actually recited with the actors) in small theaters capital and other visual artists and the contemporary scene.

In his latest research work investigating, thanks to close cooperation with the versatile artist Sylvia Ianni, the scope of performance art and body art extreme.

The latest work she has written and directed-SS, a show on the Stockholm Syndrome in Nazi concentration camps-just see Di Ianni committed to performing the entire system design.

PERFORMANCE
"family pictures" of Mariaelena Masetti Zannini, Sylvia Di Ianni with Nicola Surber
(Sculptures scene Mimmo Fish)

The work born as a contemporary interpretation in the form of a tableau vivant of the framework known as Las Meninas of the English painter Diego Rodriguez de Silva y Velazquez (1656). The Rise of the death of Las Meninas is the last page of a huge family of blue streaked with blood red. In the matriarchal lineage ties back like that, obsessively, in a hall of mirrors where the audience is none other than the source, its inevitable prosequi. Born as a free interpretation of the famous work of Diego Velasquez, better known as Las Meninas (1656) stands today, in new guise, as Atemporanea While analysis of a thin, overlapping voices of mothers in childbirth, or the same lines, killer. The link originates matriarchal psyche soul and flesh as it is able to destroy them but it is a phenomenon that dominates and subdues Superior and, above all, back in the perspective of a that assists, at the gates of a past that watches, helpless. The Stockholm syndrome is melted, without much obvious, in that of Stendhal. The picture is so alive and breaks the boundaries of a defined frame that nailed the canvas, for enjoying the glassy eye of him who looks up at him tears. And 'the artist, the subject or the viewer the true protagonist of the picture? Little Margaret of Habsburg and his mother or the mother who waits in which he sees himself? We are victims or perpetrators of the imagination of the painter who glorify the act? We should only blame the mother, now, let's look at a fixed point that seems to mobile.