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Kinkaleri

Kinkaleri, 'raggruppamento di formati e mezzi in bilico nel tentativo', opera tra Firenze e Prato. La natura dinamica del gruppo ha permesso di consolidare una personale linea creativa, trovando un riconoscimento di eccellenza sulla scena della ricerca italiana e soprattutto estera. L'andamento produttivo dei Kinkaleri si è sviluppato attraverso itinerari diversificati: spettacoli, performance, installazioni, produzioni video, allestimenti, pubblicazioni. Le produzioni più recenti: pool, West, Stadium, 11cover, Nerone, pinocchio.

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Founded in 1995, Kinkaleri is an artistic collective of six eclectic artists: Matteo Bambi, Luca Camilletti, Massimo Conti, Marco Mazzoni, Gina Monaco and Cristina Rizzo. All of them are equally in charge of all aspects of the work, both artistic and administrative, and everything they do is credited to the company, not to single contributors. Their individual names never appear in the programmes, and only rarely are they disclosed in the press/reviews. By definition – the word ‘kinkaleri’ means knick-knacks in Albanian, conveying the idea of a mix of all sorts of things – they experiment across genres and disciplines. Thus, even if they are generally considered to be a dance company, and one of the most interesting in Italy during the last decade, their projects range from performances to installations, from live art to video art.
Their work challenges the conventions and strategies of the spectacle and of the society that has produced it, unveiling its paradoxes and contradictions. “My love for you will never die” (2001) explored the nature of scenic representation, stripping it of its clichés and unstable mechanisms. “Otto” (‘eight’, the eighth piece by the group, 2002-2003) took this enquiry further, reversing the conventions of theatre and negating the possibility of representation. A postmodern collection of all things already seen in the contemporary world, from cinema to theatre, to dance and music, the performance is composed of mundane actions and small incidents, interspersed by a leitmotif: a man falling in countless ways, again and again. Through this simple, apparently innocuous, even comic gesture, the work exposes the absurdity of human actions, extending this nihilist outlook to the entire cycle of life, up to its ultimate moment, the moment of death.