Photo: Paulina Cervantes

WRECK – List of extinct species

Photo: Daniue Putinas

HIVE – our hydrological need of cosmic lines

Pietro Marullo

“My work is about our species, its imaginary, its dreams”

Since 2015, he has been researching on Euro-African relations, as well as on the phenomena of contemporary slavery and migration (ARANCE – avoid shooting blacks) and on the seclusion of this in “refugee camps” (ARIANE – euphony). Marullo crossed this subject with the gaze of an anthropologist rather than of a sociologist. He works out the myths, the Neolithic history of the human species. He is reflecting on the rules of borderlands, instead of presenting documents of reality or pretending to be able to represent the present time.
In this sense, a mix of visual, plastic and sculptural art is been found throughout Marullos artistic work. For him, this offers the possibility to form scenic symbols, that agglutinate several dimensions of reality. Not only the historical one, but also the philosophical, aesthetic and subjective one.

Meanwhile, Marullo set up two other projects: WRECK – List of extinct species (2017) and HIVE – our hydrological need of cosmic lines (2019).
Because of their varierity in material tools, these projects have already been presented in several different framings of cultural events, such as: Dance Festival, as long as Puppet Festival and objects, experimental music events, in museums and galleries, etc. It is a singular approach that does not start from the movement of the body or from a dance technique – the dramaturgy takes off in anthropological questions which materialize in the form of evolving scenic symbols.

All of his projects might be categorised in a theatrical approach, defined as “tanz-theater” – for the sake of definition. “Tanz-theater”, probably because the kinesthetic component (objects and bodies, light and ever-changing scenography) as well as the artistic reflection on soundscapes, could reconnect it best with its need for something like “total theater”, as defined in the early 20th century.
Still it would probably miss the mark to referre to Marullos artistic work only as choreography – maybe we could call him a “material-grapher”, someone researching on ethical and empirical questions with a varierity of materials, like bodies, objects and sounds etc.