Interview: Arianna Ilardi
Luca Curci talks Arianna Ilardi during FRAGMENTED IDENTITIES and FUTURE LANDSCAPES, second and third appointments of BORDERS Art Fair 2020 at Palazzo Albrizzi-Capello.
Multifaceted Artist, born from Classical Dance, Arianna Ilardi studied with Masters S. Brioschi and P. Virtanen, then graduating as a contemporary dancer at the Compagnia ErsiliaDanza (VR). At eighteen years old she began working as a dancer in Liberovici ‘Macbeth Remix’ with the costumes by the Oscar winner M. Canonero. By pure chance, she was noticed by the photographer Stefano Goldberg, with whom she establishes a very strong partnership lasting until his untimely death (2020). She has worked in the most important Italian theaters (Teatro Regio di Torino, Teatro Comunale di Bologna,Teatro Alighieri di Ravenna, Teatro Carlo Felice di Genova, Teatro Comunale di Firenze, Arteven, Teatro Petruzzelli di Bari etc.) and she has been chosen by Directors such as Zeffirelli, Pizzi, Cobelli, Saura, De Ana, etc. and as an added dancer with the Ballet de Lorraine. A that time, while working for both established and emerging Artists (Livermore, Giovinazzo etc.), her idea of working on multiple levels was formed, as she will later be recognized in Florence. In the meantime she graduated in Modern Letters with a thesis on the History of Medieval Commerce and Navigation. Passionate about history, because each of us is history, she approached cinema with a small role in D. Costantiniís ‘Un destino ridicolo‘, and then she started working on video art with her own project ‘Omert‡’ for which she was invited to the XY Art Gallery of NY and was also worth the invitation to Milano Danza ExpÚ for discussing her research work. In 2015 she appeared as a Visual Artist on ArtSlant and in 2017 she became part of the CID, Council International of the Dance, after graduating in Choreographic Composition in Rome. So, she works both as a model (photographed by Sabatini, Bonazza, Gandoli, Accorsi, Di Bartolo among others great professionals, with publications for editorials, books, exhibitions) and as a performer. In 2018, she worked as a performer in the music video ‘Disobey’ directed by G. Bucci, finalist at Hollywood Reel Film Festival, L.A. and winner of the Prisma Film Festival in Rome, while her creation ‘Fisica/Mente’ was bought by the Museo Galileo in Florence. Her way of working on multiple levels was greatly appreciated, thus giving her the idea to take another road, influenced by Kandinsky. In the same year she ranked finalist as a model at the Concours International Photo with the photographer M. Berni. In 2019 she was called as a dancer by Lucerna Films for the music video ‘Crucified Society’ and as a model by Milano Fashion Week. In her career so far, her projects have been bought by Salvadei & Management, Galleria Mentana (FI), Galleria Multiverso (FI), Biennale di Roma, and presented by the Fondazione Bartolomei (Roma), Milano Expò, XY Art Gallery (NY), Bogotà Contemporary Art Gallery.
Luca Curci- What’s your background? What is the experience that has influenced your work the most?
Arianna Ilardi – I born from Classical Dance, then I graduated as a contemporary dancer. So, the body is very important for me, because it never lies. At eighteen I began working as a dancer in Liberovici ‘Macbeth Remix’ with the costumes by the Oscar winner M. Canonero and I realized the idea of Arts not only of Dance. Every experience influenced my work, but the masters Virtanen (Dance Teacher), Goldberg (Photographer), and Pizzi (Stage Director) gave me the deepest sense of the Art. I’m really proud to have worked with them.
LC – Which subject are you working on?
AI – I’m just working on ‘My body, my town’, a performance in which Dance and Architecture marry.
LC – Which is the role the artist plays in the society? And the contemporary art?
AI – Artists should be in harmony with past artistic currents and experiment new ideas; obviously with thoughts of grown for the society. In my opinion contemporary Art should dare a little more…Be bolder and at the same time stronger and pouder of its past.
LC – What is your creative process like?
AI – My creative process always changes. But I usually have more ideas after a painful period. It’s just like creating heals my hidden wounds.
LC – Did your style change over the years? In which way?
AI – My style has changed even if contains supporting elements. The light, perhaps because I studied lighting technology, is a precious element in my opinion. And I agree with Kandinskij thought, according to which in the end everything is shape and colour.
LC – What do you think about the concept of this festival? How did it inspire you?
AI – I like the concept of this festival because the themes are very current and the artists are truly selected. For Fragmented Identities I was inspired when I read the theme so, from the limits imposed by Covid I had the intuition to work on the limits imposed by human wickedness.
LC – We were attracted by your last artistic production, has the artwork presented been created for the festival or as a part of preexisting works?
AI – The latest performance (UN)LIMITED was created for the festival.
LC – What do you think about the organization of our event?
AI – The organization of the festival is really efficient, serious and kind at the same time.
LC – Did you enjoy cooperating with us?
AI – I’m very proud cooperating with you just because I know your seriousness and your selection of Artists.
LC – Would you suggest a collaboration with us? What do you think about our services?
AI – Certainly ! I’ve been collaborating with you since 2015, if were not strong foundations and above trust, I would not be here. Your services are really flawless!