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Special Thank You to Emilia Verginelli for inviting us to Fivizzano27 and to Michelle Annay Woods for hosting our audience with delicious foods and drinks. 

SPANDA* is a Performance inoculated by Anna Kushnerova and Sofia Kovarich and a group of international beings-bodies who committed themselves for 10 days to liminal and collaborative processes @ Fivizzano27, Rome, Italy to emerge in an intensely somatic and acoustic real life encounter.

(*in Sanskrit , vibration, flutter, throb, and self-movement, used to describe the principle of movement in the universe as well as the reflective aspect of the divine consciousness.)

to submit my body to a new state, to enhance unknowability -

i select 6 metallic extensions,

sharp, constraining and expanded, i tighten the straps

i crawl…

i encounter Valentina’s topology

i offer her my sharp thigh

Valentina thickens the space between us with her attention,

my metallic knee meets her arm, she brings a mirror for me to to see my face,

sound of clashing blades lingers, contagiously beyond its own duration

i come to arest, allowing a Form to emerge…

clanging, Valentina’s ecology meets mine,

sometimes she is sharp, the way she lets me share her vitality -  is soft

i sense her invitation to play,     


I risk myself to somatic change

her breath changes, and changed, i meet her yet closer: over and over

until i become her prothesis, i become part of her rhythm


somewhere in the bardo of somatic complexity:

between being constrained by the sharp edges of our extended peripheries and the desire to experience the aural affect of our touch

between the cold reflective edges of metal and the desire to risk into the novelty of sensation

we emerge as a gigantic instrument with no obvious organisation


metal plate strapped to my right foot, forces it to arch, i loose balance

utilising the nervous magnetism, curling to extremes, i collapse

i diffuse into the shifting rhythms of other dancers

i bounce back and forth between sensing and the void, the touch of metal keeps my skin acutely sensitised

in this hyper-attentiveness, i create myself as i move

gently swarming Reality with the symphony of my exosomatic armature, my physicality shimmers in response to its sharp endings  

i find myself in an unstable ecological dynamic


red light shifts to green light, sounds of metallic collisions, of breaths, heartbeat blend into vibration,

vibration that exists at a frequency tangible in a kind of synthetic virtual space between all of my senses


there is a familiar sense of the mechanical cyborgian future, also reminds of what we can never relate to

sentient beings aware of their limitations and potential

shimmering embodiment

To exist is to be engaged in a certain form of play, which as Gregory Bateson suggests, has the structure of negation.