Interview with Silvia Pipponzi | ITSLIQUID

Interview with Silvia Pipponzi

Interviews | October 28, 2016 |

Interview with Silvia PipponziImage courtesy of Silvia Pipponzi

Interview with Silvia Pipponzi

Luca Curci talks with the artist Silvia Pipponzi during FRAGMENTED IDENTITIES, second appointment of BORDERS festival, in Venice on August 2016. Silvia Pipponzi was born in October 1992, in a historical village in Italy, called Falerone. She started to study dance when she was 4 years old. After one year studying law at the University, she came into a breaking point where the artist had to figure out what she was going to do for the rest of her life. Suddenly, Silvia understood that she could not keep waiting for her dreams to come true without doing anything about it. She worked really hard and she graduated in Contemporary Dance at the National Dance Academy of Rome.

 

Interview with Silvia PipponziImage courtesy of Silvia Pipponzi

 

Luca Curci – Please, tell me about your artwork shown during our festival.
Silvia Pipponzi – It is a site specific work in which the aim is to create a performance where the landscape, the installation, and the sculpture enhances the movement. The concept digs deep into the relationship between body and architecture, showing that body is architecture in itself. It is a salient architectonic form that interplays with the dimensions of space and time. Space itself is pliable, active, and alive. Breath and air are essential to body and space, rendering a kinesthetically dynamism. The body in motion designs the space, and the space navigates the body’s movement. Imagining the space full of lines that could be bent, tossed, or distorted, the aim of the performance is to visualize a geometric space composed of points that are vastly interconnected. As these points are within the dancer’s body, there are not transitions, but a series of folding and unfolding that produce an infinite number of movements and positions. From a sculpture or an installation, it is possible to extend it out into space.

 

Interview with Silvia PipponziImage courtesy of Silvia Pipponzi

 

L.C. – We were attracted by your last artistic production, has the artworks presented been created for the festival FRAGMENTED IDENTITIES or as a part of pre-existent works?                                                                                                                                                        S.P. – One year ago I had a performance in a Roman cistern in which I had to relate my body with the space. From this experience I developed an idea which I applied for the “FRAGMENTED IDENTITIES”. Thanks to this performance, my interest in the relationship between movement and architecture began. In the beginning it was just a curiosity, but then thanks to this festival my ideas could fully take shape.

 

L.C. – When did you start practicing art and why?
S.P. – I am extraordinarily blessed to do what I love for a living. Somehow in the last decade I have turned a passion into a profession, and then into a lifestyle. I started to study dance when I was 4 years old. I always wanted to be a dancer, but I never had the courage to admit it. After one year studying law at the University, I came into a breaking point where I had to figure out what I was going to do for the rest of my life. Suddenly, I understood that I could not wait for my dreams to come true without doing anything about, so I did. I knew it was the right choice. Dance for me represents an opportunity to discover new ways to compare ourselves with our own body, senses, and mind. Art is something through which we can see.

 

Interview with Silvia PoppinzoImage courtesy of Silvia Pipponzi

 

L.C. – Can you talk about your artistic work? Which are your inspirations?
S.P. – I’m a freelance dancer, currently training in Israel. My individual works usually involve the relationship between dance and the other art-forms that I love, such as architecture, literature, poetry, visual art, and theatre. I get my inspiration sharing my knowledge, my experiences, and my personal view with people that I meet during my journey. This does not only include dancers but also other artists and audiences. I will continue to keep evolving myself as an artist as well as a human being.

 

Interview with Silvia PipponziImage courtesy of Silvia Pipponzi

 

L.C. – What’s the art tip you usually receive?
S.P. It depends on the kind of performance, company, theatre, and town, usually about 200 €.

 

L.C. – Do visitors’ suggestions enrich yourself and your art?
S.P. – The visitors’ suggestions enrich me so much. Receiving feedback about my work is very important in order to discover my limits, challenges, qualities and weak points.
Usually, being an artist means that you have to be completely honest with your audience. You cannot lie with the movement. When I started to dance professionally, for real audiences, the fear began. It’s a struggle with ourselves with the fear of not being good enough, being horrible, or being an embarrassing failure. It was this fear that inspired me to improve.

 

L.C. – What art themes do you pursue? What are your preferred subjects if any?
S.P. – Dance is my natural environment where I feel the most comfortable; however, I’m interested in many other subjects like architecture, drama, poetry, and visual art. Usually, when I do my own choreography I love to research human emotions and try to represent them through movements, taking the inspiration from other subjects.

 

Interview with Silvia PipponziImage courtesy of Silvia Pipponzi

 

L.C. – What do you think about It’s LIQUID Platform?
S.P. – I think it’s an amazing way to meet different kinds of artists and people. Differences create possibilities instead of building borders.

 

L.C. – Do you think It’s LIQUID Group can represent an opportunity for artists?                 S.P. – I think that It’s LIQUID group represents an important opportunity for artists who want to show their artistic research, and share ideas and point of views with people from all over the world. When you share, you grow.

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