The fear of holes—or rather, of all those small geometric shapes that, when clustered together, create tiny openings. Geometry is the medium through which a trypophobic skeleton takes shape; only through the imaginative contribution of the human mind does it become an active gateway to fear and anguish, reflecting human insecurities and paranoias.

Performed together with Giacomo Todeschi, T.R.I.P.O.F.O.B.I.A is a plunge into the body, into its geometries and its irregularities.

Facing a fear is no easy game. The risks are real, but the outcome is certainly worth it. It seems that playing the game rather implies accepting not to play at all. With T.R.I.P.O.F.O.B.I.A., we choose to accept the challenge, transforming ourselves into the parasites that creep into its tunnels.

The fear of holes—or rather, of all those small geometric shapes that, when clustered together, create tiny openings. Geometry is the medium through which a trypophobic skeleton takes shape; only through the imaginative contribution of the human mind does it become an active gateway to fear and anguish, reflecting human insecurities and paranoias.

Performed together with Giacomo Todeschi, T.R.I.P.O.F.O.B.I.A is a plunge into the body, into its geometries and its irregularities.

Facing a fear is no easy game. The risks are real, but the outcome is certainly worth it. It seems that playing the game rather implies accepting not to play at all. With T.R.I.P.O.F.O.B.I.A., we choose to accept the challenge, transforming ourselves into the parasites that creep into its tunnels.

CRY VIOLET, named after the extinct flower of the same name, is a choreographic creation by and with Panzetti / Ticconi, set to a sound composition conceived and performed by Teho Teardo.

Using a gestural code that evokes expressions of pain and shame inspired by the iconography of original sin, the work highlights the human tendency to atone for guilt through practices that attempt either to repair environmental damage already done or to conceal it. Widespread phenomena such as greenwashing, in fact, represent deceptive practices that evade real solutions to the damage human action has inflicted on the environment.

Actions such as cleaning merge with crying. In this context, a common object like a cloth or handkerchief transforms its function—from a cleaning tool into an element that holds pain, absorbing tears. Echoing Lady Macbeth’s repeated and futile gesture of trying to wash away the mark of guilt from her hands, the two performers trace the mechanical ritual of cleaning and concealing. It is within this limbo—between genuine attempts and merely superficial efforts to repair the damage—that CRY VIOLET takes shape, in a shifting complicity between the aestheticisation of guilt and the act of resolving or hiding it, until guilt itself becomes an appealing, seductive, almost promotional material.

“(…) the choreographic elegance of Panzetti/Ticconi meets the musical energy of Teho Teardo. The composer, musician and sound designer—winner of the David di Donatello for Best Original Score for the soundtrack of Il Divo by Paolo Sorrentino—has long explored stimuli from other artistic forms. He dedicates himself to concert and recording activities, investigating the relationship between electronic music and traditional instruments, as well as creating sound installations and composing for cinema, television series, and theatre.”
Esplorazioni-Triennale.org

CRY VIOLET, named after the extinct flower of the same name, is a choreographic creation by and with Panzetti / Ticconi, set to a sound composition conceived and performed by Teho Teardo.

Using a gestural code that evokes expressions of pain and shame inspired by the iconography of original sin, the work highlights the human tendency to atone for guilt through practices that attempt either to repair environmental damage already done or to conceal it. Widespread phenomena such as greenwashing, in fact, represent deceptive practices that evade real solutions to the damage human action has inflicted on the environment.

Actions such as cleaning merge with crying. In this context, a common object like a cloth or handkerchief transforms its function—from a cleaning tool into an element that holds pain, absorbing tears. Echoing Lady Macbeth’s repeated and futile gesture of trying to wash away the mark of guilt from her hands, the two performers trace the mechanical ritual of cleaning and concealing. It is within this limbo—between genuine attempts and merely superficial efforts to repair the damage—that CRY VIOLET takes shape, in a shifting complicity between the aestheticisation of guilt and the act of resolving or hiding it, until guilt itself becomes an appealing, seductive, almost promotional material.

“(…) the choreographic elegance of Panzetti/Ticconi meets the musical energy of Teho Teardo. The composer, musician and sound designer—winner of the David di Donatello for Best Original Score for the soundtrack of Il Divo by Paolo Sorrentino—has long explored stimuli from other artistic forms. He dedicates himself to concert and recording activities, investigating the relationship between electronic music and traditional instruments, as well as creating sound installations and composing for cinema, television series, and theatre.”
Esplorazioni-Triennale.org