{"id":3548,"date":"2025-05-17T18:54:30","date_gmt":"2025-05-17T16:54:30","guid":{"rendered":"https:\/\/pensarecomeunamontagna.gamec.it\/?p=3548"},"modified":"2025-06-11T17:59:45","modified_gmt":"2025-06-11T15:59:45","slug":"cecilia-bengolea","status":"publish","type":"post","link":"https:\/\/pensarecomeunamontagna.gamec.it\/en\/cecilia-bengolea\/","title":{"rendered":"Cecilia Bengolea"},"content":{"rendered":"\n
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An artist, choreographer, and dancer whose practice spans video, sculpture, and performance, Cecilia Bengolea (Buenos Aires, 1979) often exploits dance as a means through which to stimulate empathy and encourage emotional exchange.<\/p>\n\n\n\n

In her recent research conducted at the National Linen and Hemp Mill in Villa d\u2019Alm\u00e8, Bengolea links the era of the Industrial Revolution to the practice of \u201cFree Dances\u201d: devised by both well-known and lesser-known choreographers between the two World Wars, which she often makes use of. The one elaborated by the Argentine artist herself is a reflection on contemporary alienation. The result is a performance specially conceived for Thinking Like a Mountain <\/em>and for the spaces of the former spinning mill.<\/p>\n<\/div>\n<\/div><\/div><\/section>\n\n\n\n

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Observation of the rotary and mechanical movements of the machinery used in the hemp and linen spinning rooms, as well as the repetitive movements of the manual labor performed by the workers, was the source of inspiration for the choreography of Spin and Break Free<\/em>. Specifically, the six young male and female dancers from the Danzarea school in Mozzo, Bergamo\u2014Francesca Carobbio, Martina Galluzzi, Alessia\u00a0Morganti,\u00a0Francesca\u00a0Opini, Umberto Rota, Virginia Gotti\u2014were invited by Bengolea to work on a rotary and repetitive movement, <\/em>that of spinning, which by repeating a single action activates a meditative, generative, and potentially liberating state of mind. The condition induced by the repetitive rotation of the performers\u2019 bodies, in fact, may trigger energies that translate into movements endowed with spontaneity and vitality, capable of interrupting mechanical repetitiveness while leaving room for improvisation.<\/p>\n<\/div>\n<\/div><\/div><\/section>\n\n\n\n

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These movements are complemented by some repertoire drawn from the Free Dances <\/em>of the 1930s. In particular, the artist worked with the dancers drawing on the teachings of Fran\u00e7ois Malkovsky that it was necessary to rediscover \u201cnatural human movement.\u201d The French dancer and choreographer, among the pioneers of the School of Free Dance in Paris, was inspired by the movements of natural elements or children\u2019s gestures in his search for the \u201cright movement,\u201d of which gravity, fluidity of gesture, breathing, momentum, and economy of effort formed the mainstay.<\/p>\n\n\n\n

Along with the choreography, Bengolea designed the stage costumes worn by the dancers using hemp stems and linen fibers, the characteristics of which vary depending on the stage at which the fibers are processed. Made in collaboration with costume designer Alberto Allegretti, they are inspired by the Theyyam ritual, which takes place annually in Kerala, India, during harvest season, when the dancers wear clothes made from the fibers of pepper, cardamom and vanilla plants.<\/p>\n\n\n\n

Costumes play a key role within the performance: interpreted as living sculptures, the dancers are invited to interact creatively with the costumes, which sometimes affect their movements or restrict certain parts of their bodies such as their eyesight or arms. Much like continuous rotational movement, costumes\u2014in interaction with the dancers\u2014can potentially shape new gestures and movements that are freer and more spontaneous, thus rejecting the alienation induced by repetitiveness.<\/p>\n\n\n\n

The costumes come to life along with the dancers in a form of material animism evoked by the words of the mill workers, interviewed by the artist, who state how they often used to \u201ctalk\u201d to the linen, attributing a kind of will to it. The workers\u2019 voices are integrated into the soundtrack that accompanies the performance, composed by the artist especially for the occasion.<\/p>\n\n\n\n

Spontaneity-mechanicalness, repetition-release, improvisation-constriction, alienation-rebellion: these are all opposites that permeate every element of the performance: starting from the performers\u2019 initial mechanical movements, it evolves into collective choreography and elements of the Free Dancerepertoire, integrated with House Dancerhythms, until it culminates in the finale, when the dancers break free in a playful ronde, evoking the naturalness of childlike gestures.<\/p>\n\n\n\n

The performance is held as part of the fourth edition of ON AIR \u2013 Argentina\u2013Italy Art Residency<\/em>, the residency program arising from a partnership between GAMeC and Fundaci\u00f3n PROA in Buenos Aires, to activate exchanges of experiences aimed at enhancing the artistic potential of the two countries.<\/p>\n<\/div>\n<\/div><\/div><\/section>\n\n\n\n

<\/div>\n","protected":false},"excerpt":{"rendered":"

GAMeC, Bergamo<\/p>\n","protected":false},"author":3,"featured_media":3640,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[24],"tags":[22],"class_list":["post-3548","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-events","tag-territory"],"acf":[],"yoast_head":"\nCecilia Bengolea - Pensare come una montagna<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/pensarecomeunamontagna.gamec.it\/en\/cecilia-bengolea\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Cecilia Bengolea - Pensare come una montagna\" \/>\n<meta property=\"og:description\" content=\"GAMeC, Bergamo\" \/>\n<meta property=\"og:url\" content=\"https:\/\/pensarecomeunamontagna.gamec.it\/en\/cecilia-bengolea\/\" \/>\n<meta property=\"og:site_name\" content=\"Pensare come una montagna\" \/>\n<meta property=\"article:published_time\" content=\"2025-05-17T16:54:30+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2025-06-11T15:59:45+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/pensarecomeunamontagna.gamec.it\/wp-content\/uploads\/2025\/05\/28.-Bengolea_Spin-and-Break-Free-scaled.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"2560\" \/>\n\t<meta property=\"og:image:height\" content=\"1440\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"gamec\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"gamec\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"4 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/pensarecomeunamontagna.gamec.it\/en\/cecilia-bengolea\/\",\"url\":\"https:\/\/pensarecomeunamontagna.gamec.it\/en\/cecilia-bengolea\/\",\"name\":\"Cecilia Bengolea - 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