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Under Scars is envisioned and devised by the artist duos VestAndPage (Verena Stenke & Andrea Pagnes) and Andrigo & Aliprandi in collaboration with Irina Baldini, Sabrina Bellenzier, Giorgia de Santi, daz disley, Nicola Fornoni, Marisa Garreffa, Fenia Kotsopoulou, Ash McNaughton, Aisha Pagnes, Enok Ripley, Sara Simeoni, Mauro Sambo, Joseph Morgan Schofield, Marcel Sparmann and Emily Welther.


The experience of the collective performance opera Body Matters: Anam Cara – Dwelling Bodies in 2018 made us imagine a radically different direction for the VENICE INTERNATIONAL PERFORMANCE ART WEEK. We realised that the production of collective performance operas should be nurtured by artists-in-residences that provide time and space for the needed intensive co-creation processes. Under Scars grew from this insight as a collective performance opera and work-in-progress. It developed from Body Matters: Co-Creation Residency, a shared artistic research and a co-creative path undertaken by 15 performance and sound artists organised in June 2022 at C32 performingartsworkspace in Forte Marghera (Venice).

A collective performance opera

Saturday, December 17, 2022, 19:00h

European Cultural Centre | Palazzo Mora

Strada Nova Cannaregio 3659, 30121 Venezia (IT)

For more information:

photo by Fenia K.



processional performance

Duration:  2 hours

Date: 18th October 2019

Venue: Playa Migjorn - Torre des Pi des Català (Formentera)


In the shadow of the tower whose purpose it is to enforce this boundary, this territory, I seek to modulate the very border which makes the tower 'necessary'.


Like the sea, I move stones and sand.

Like stone, I am moved and shaped by the sea.

I become a wave,

and with each oscillation boundaries are






With every movement of every grain of sand, the circumference of this island changes, because this is a much more fluid, liminal space than the rigid enforcement the tower is there to impose upon us. When the boundary moves, in a geophysical sense the territory also moves - contracting and expanding with each fall and rise of the passing waves : so what then of the impact on the political sense of territory ?


I am becomming the sea, and embodied wavefront.

I seek to be, with you : the agent of change ...

if just in a modest way, right now. here.


A meditative performance starting with stillness immersed in the sea, holding a broken stone and gazing towards the unknown and moved by the gentle waves as my feet search-out roots unders the sand. A collective procession follows where with each step Formentera's landscape is reconfigured and maps are (re)traced. Itineraries dissappear as new ones are formed around the Torre des Pi des Català. In the shadow of the tower, brief rituals take place.


What do I seek to activate?

What do I want to protect? for whom? and from whom?

What is left to defend? from whom? and for whom?


In the end, everything will fade out in stillness.


What is left is a handful of earth,

a grain of salt,

and an old stone.





Body Matters is a moment of sustained encounter where different artistic researches combine with performative responses to confront the emergencies of the present.The idea also arises from the desire to further qualify the C32 artistic space as a performative interface for the coagulation of inclusive, expansive stories; an open space that functions as a social-narrative incubator wherein performative systems and methods are intertwined in the search for new and unconventional expressive approaches.


Aldo Aliprandi (IT), Marianna Andrigo (IT), Irina Baldini (IT/NL), Selina Bonelli (UK), Daz Disley (UK), Marisa Gareffa (AU/IT), Nicola Fornoni (IT), Fenia Kotsopoulou (GR/UK), Ash McNaughton (UK), Joseph Morgan Schofield (UK), Sara Simeoni (IT/DE), Marcel Sparmann (DE), VestAndPage (Verena Stenke & Andrea Pagnes), Emily Welther (US/DE).

Location: C32 performingsarts workspace, Forte Marghera, Mestre-Venice

May 31 - June 10, 2022

For more information:

photo by Lorenza CIni




Conference of screendance

Presentation of screendance works

Duration:  60min

Date: 20th October 2019

Venue: Centre del Carme Cultura Contemporanea (Valencia)

Context: International Meeting on Videodance and Videoperformance


In discussion with Blas Payri and presentation of seven screendance works

- itineraries

- Carriage return

- Catch me

- A cuppa with ancestors

- Waiting on the doorbell


- This Dance Has No End

at the 6th International Meeting on Videodance and Videoperformance (València) at Centre del Carme Cultura Contemporània CCCC.

STRATA_VestAndPgae_ph_Marcel Sparmann.jpg

"STRATA" by VestAndPage

Honored to participate with contribution as performer, photographer, videomaker, at the fifth performance-based film project by the duo VestAndPage deals with Deep Time and layers of memory in human history and the geological.

In international collaborations and interdisciplinary processes, performance art, theatre, dance, visual art, and music meet science in human prehistory caves.

Concept, Production, Artistic direction 

Verena Stenke, Andrea Pagnes (VestAndPage)

Director of Cinematography & Editor Verena Stenke

Texts Andrea Pagnes

Assistance, still photography Marcel Sparmann

Lighting director, cinematography daz disley

Cinematography Fenia Kotsopoulou

Sound design, audio arts Douglas Quin

Set director, drone operator Giovanni Dantomio

Masks, costume design VestAndPage, Balaustio.

For more information:

photo by Marcel Sparmann



FLuid Boundaries


"STRATA" performance-based film  by VestAndPage(2021-22) [ph.Marcel Sparmann, Daz Disley]

FLUID BOUNDARIES (2019) [ph. Lorenza Cini]

Fr-agile acts #1.jpg



LIVE performance via Skype

Duration:  9minutes

Date: 26th of October 2019

Venue: online

Context: Festival Internacional de danza para la pantalla | Movimiento en Movimiento #8

This performance is based on the ongoing series "Deviant women" exploring, exposing and subverting gender codes embedded within social identities.  The focus of the performance is on fragility.   The word fragile, often used to mark feminine emotionality, characterises someone who can be easily broken. However fragile also contains within it the word agile - the one who is able to move quickly and easily.  If one is said to be fragile, does this then make them also by default : agile? Not just an act of identifying or locating agility, this performance seeks to celebrate this agility, without ignoring or diminishing its seat within fragility.




photo by Young _il Kwon.jpg

GlobalArtTogether | FACE TO FACE ed 2


LIVE performance

Duration:  30minutes

Date: 11th August 2019

Venue: 5.18 Democracy Square Gwangju

Context: GlobalArtTogether Face to Face . Edition 2 | '數싸움 Psychologic Games' (South Korea)

Music: Sol Rezza

ph. Young-il Kwon

On my doorstep I found a dead butterfly staring into the void in silence.
On the surface of a black cube
Find a hand from the other side
Devour the fear
Scrape the shame
Inject the flower's pain and beauty's decay
The voice's gate shall stay open
Wrap your centre with fr-agility, make it your armour
Bite the sin with grace
Transformation happens in the dark
Dead butterflies are still Alive; they sip from muddy puddles, stare at you in silence

And then, they fly again

Seven actions in search of pathways towards change, performed on 518 Democracy Square's pavement marked by histories of resistance and resilience.

Action 1: 불안정
Attempting to balance on a small black cube. I extend my hand to be reached by someone. To find equilibrium at the shoulder of the other can be enough.

Action 2: 무서움
Writing on rice paper the word fear, whilst using the body of the other as shelter from the rain. Swallowing the paper slowly.

Action 3: 부끄러움
Taking out of my mouth a steal sponge. After pulling it apart I use it to scrape my chest.

Action 4: 고통
18 red roses on my arms. I remove the petals and I offer the stems to others. I crash the petals, I squeeze until their juice comes out. Using a syringe,  I spill out the liquid onto the cavity of my neck and throat.

Action 5:취약성
I wrap my waist tight with a white and red tape on which is written the word: FRAGILE.

Action 6: 취약성
A green apple and a charcoal stick. I bite once the apple and with the rest off it I smash the charcoal on the pavement before stepping on it.


Action 7: 날개
I raise my arms. I dance.

The actions have finished. It still rains and someone from the audience helps me to cut the tape from my waist.

I can breath deeply again.



PROJECT ID – In Between Identities.



LIVE performance

Duration:  45minutes

Date: 6th July 2019

collaboration with Daz Disley and Andrea Pagnes (V&P)

live sound and text: Daz Disley

Venue: De Helena (Den Haag, The Netherlands)


ph.  Jacques Martens

Collaborative participatory performance, exploring emergent expression of emotion and identity.

Sometimes we all struggle to express, because sometimes thoughts and feelings move to fast to be put into words, become somehow illusive, and so escape digestion and understanding. Working from a restricted basis rooted in Plato's seven forms of love (and drawing on months of direct-messages exchanged with a friend discussing our relationships and navigations) a limited vocabulary was constructed with which to create patterns, phrases and sentences expressing feeling. The limit to the vocabulary is a an attempt not to limit expression, but instead an invitation to find combinations which resonate with feelings in a more stripped-back sense - an attempt to steer the expression away from an infinite sea of passing unexpressed situations, and towards something which despite perhaps being less immediately authentic or representative, at least drives towards formulation, contextualisation, and therefore eventually understanding and acceptance of situation. In the context of identity, the philautia element of Plato's seven forms is something important to tackle in order to provide firm foundations for higher/deeper level identity-related discussion.




dead butterfies/hundreds words

DEAD BUTTERFLIES ARE STILL ALIVE (2019) [ph. Young Il Kwon, Kang Cheol and Lee Jin Gi]

HUNDRED WORDS FOR LOVE (2019) [ph.  Janques Martens and Aldo Aliprandi]




mataka tiyāganna

durational participatory performance

Duration:  2 hours

Date: 17th March 2019

Venue: Borella Junction (Bus station) Colombo (SRI LANKA)

Context:  Theertha Performance Platform 2019 | 15-18 March 2019.

*This performance was part of the cross-disciplinary on going project "SCENTS OF EVANESCENCE": a project on ephemerality, transient memories, remembering and forgetting.

Performing the anthotype process,  using  a bucket of red and orange Alstroemeria flowers, symbolising devotion and friendship.

The action consists on using first the petals and afterwards the leaves of the flower, placing them in a mortar and crashing them with a pestle. Once the petals/leaves become a pulp, I take the mash and by using my white clothes I squeeze it until the colourful pigment  falls into the jug. The stains remain on the white skirt and shirt. I repeat the ritual in the midst of noise and and traffic.

Without instructions, eye contact nor explicit invitation, organically the passengers become participants. They take on their hands this ritual. They smash, they squeeze, they silence we go through a collective process of colourful destruction and transformation.

The remains of the petals are used to write on the dirty pavement: REMEMBER[in sinhala: mataka tiyāganna].

During the following day 27 new portraits and texts on the question have been collected to be developed as anthotypes.

300 sec to cleanse your shame.jpg


300 sec to cleanse your shame

Intervention during TPP performance marathon

Duration:  5minutes (300sec)

Date: 16th March 2019

Venue: Theertha Red Dot Gallery, Colombo (SRI LANKA)

Context: Theertha Performance Platform 2019 | 15-18 March 2019


Trace the shame
Embrace its core
Purge what is clean and soft
and keep the sin
Water flows from the scars
while the body rest under the stars
The colour of Pain is green
The colour of Relief is green
Before both dissolve
And the time is up.


Action:Shalini Samaranayake writes on my legs the word SHAME in both English and Sinhala: ලජ්ජාවකි with green ink. 

I stand in the circle. I cover my face with my hair and lie down on the pavement. I let the other read my legs. I take a stainless steel sponge and rub the words off.

I lie down again. The words have been disappeared but the traces are still there.

ph.Waruni Anuruddhika Chandrasena  .jpg



a collaboration with Sri Lanka artist

Lakni  Prasanjali

Duration:  20minutes

Date: 18th March 2019

Venue: Theertha Red Dot Gallery, Colombo (SRI LANKA)

Context: Theertha Performance Platform 2019 | 15-18 March 2019


Wrap the black seed

Trap the black seed

Colours doesn't exist

Wrap the white seed

Trap the white seed

Colours doesn't exist

Restrictions inside a cocoon

Are dissolved through our breath

One but not one we stay silently still

Colour doesn't exist

And then the sound of ripping and tearing

Before you roll

Before I roll

We will meet again inside a new cocoon.

before forget/300sc/coocon

BEFORE WE FORGET mataka tiyāganna (2019) [ph. Lakni Kumarasiri]

300 sec to cleanse your shame (2019)

COCOON (2019)




audio-visual performance installation

Duration:  3 hours

Date: 25 January 2019

Venue: ATOPOS CVC, Fluffy library, Athens (Greece)

Context:  art residency Fluffy Library | in collaboration with artist Antigoni Tsagkaropoulou.

Fluffy and Antigoni Tsagkaropoulou invited Fenia Kotsopoulou and Daz Disley to keep each other company inside Fluffy Library for 7 days and to discover various secret aspects of Fluffy itself.

What could you find out if you sleep in Fluffy and cuddle with the pink little horse for 7 days? What secrets will Fluffy share with you and what kind of stories pop-up from the library and become reality during the night? And when you ask for bedtime stories, will you hear the voice of Fluffy itself·before you fall asleep?
Every day they discover more and more : during the nights, hairy deviances dance and masculine fairies whisper fairytales.


A performative audiovisual get-together, with video by CUNTCINEMA and new fuzzy friends of Fluffy. CUNTCINEMA is the creation of a portable tiny cinema, which aims to display movies about identity, gender, body, shame and crisis.


During the evening and for 3 hours the audience has the opportunity to experience a private 10min screening of CUNTCINEMA  under the skirt of Fenia (designed by Antigoni and with the technical support of Daz) in one of the Fluffy rooms.


photo by Piero Viti

Venice International Performance Art Week


Durational performative (inter)actions

Duration:  5 hours

Date: 15th December 2018

Venue: European cultural centre-Palazzo Mora, Venice (Italy)

Context:  performance opera:  BODY MATTERS Anam Cara – Dwelling Body

The motion of the urge to keep seeking.
A place of longing and a place of belonging,
Both destination and journey.
A place where pain and joy, love and loss, self and other :
Meet, balance, connect, and melt together.
Safe vulnerability, permeable synthesis.
Love and complete recognition.
Never fixed, always in a process of (un)becoming.
A place of returning and location for the senses
— My bones, your bones, my skin, your skin —
Where we flow through each other.

A place of celebration, a visceral dance in a moment of suspension
Where known meets unknown : in silence, stillness.
Where we annihilate each other in the process of creating
Each other : together.
Your roots. My roots. Urgent and Emergent : deeper.

This place is home.
This place is where I dance.


F-L-A-T 5 sofa residency


audio-visual performance installation

Duration:  5 days residency (2 hours shared event)

Date: 12-16th April 2018

Venue: F-L-A-t 5 (Nottingham, UK)

Context:  sofa art residency, curated by Chiara Dellerba and Saria Digregorio

According to the Oxford English Dictionary, one meaning of the word ‘pluck (up)’ is ‘courage, boldness’: I plucked up courage to express my inner thoughts [Harris, W. (1960), Palace of Peacock, i. 17]. ‘Pluck’ is also a verb: ‘to pull sharply or forcibly in an act of removal’.

For  Sofa Residency at Flat5, I blend acts of courage and acts of removal, creating the ground for investigating body and shame. The residency is an opportunity to experimentally explore issues around body-hair and other societally-unwanted features of our physical experience – those which give rise to feelings of shame.

Which are the roots of our shame and what does it take to eradicate them?

If shame was another tangible ‘body’, what form, colour and shape would it have? How would it sound, speak, or look like?

During the residency, I offer one-to-one encounters and remote collaborations exploring these shame-focused topics, recording audio-visual material and creating a short video to be screened in Cuntcinema.




KEEP SEEKING (2018) [ph.Lorenza Cini]




dance performance

Duration:  40min

Date: 9/10 November 2018

Venue:  Teatro Marcello, Cagliari

Context:  24th edition Festival AUTUNNO DANZA (Italy, Cagliari)

No Comfort Zone is an interdisciplinary project, investigating the idea of ​​contemporary creation as an interaction between different languages, and exploring the margins of non-comfort zone, or the risk as a fruitful part of the process, essential tools for the opening to new expressive possibilities. The performance plays on these states of ease / discomfort and on the possible solutions of exit from a situation - that of non-comfort - to which we are all daily exposed.

Concept: Sara Marasso & Stefano Risso

performance by: Sara Marasso, Stefano Risso, Fenia Kotsopoulou and Teresa Noronja Feio.

Visual material: Fenia Kotsopoulou

Music: Stefano Risso


X-24 Festival 2018


one to one performance

Duration:  4 hours

Date: 14 July 2018

Venue:  x-church, Gainsborough

Context:  Festival x-24 (UK, Gainsborough]

An one to one performance installation in which the participant is invited to have their portrait taken  while they are asked a personal question in relation to memories. The answer to the question is written down and becomes part of a collective text in different languages. .Afterwards, the participant learns how to create an anthotype, a technique for developing images invented in 1842.

The portrait becomes part of the image and text collection of the on-going cross-disciplinary project.


x-24 Festival 2018


Durational impovisation-based dance performance in collaboration with Daz Disley and Mariam Frick.

Duration:  3 hours

Date: 15th July 2018

Venue:  x-church (Gainsborough)

Context:  Festival x-24 (UK, Gainsborough)

A durational dance & music improvisation performance in collaboration with Daz Disley and Mariam Frick which took place from 3am to 6am in the space of x-church, during the Festival x-24. The audience have the opportunity to experience (or dream) the performance whilst drifting from consciousness to sleep and viceversa.

How it feels to perform for a sleeping audience?

no cmfort scents dance

NO COMFORT ZONE (2018) [ph. Nino Sanna]


Marilyn 3.jpg

Venice International Performance Art Week


Durational performance under the mentorship of Marilyn Arsem.

Duration:  4 and 1/2 hours

Date: 16th December 2017

Venue:  Palazzo Mora, Venice (IT)

Context:  CO-CREATION LIVE FACTORY Prologue 1 | Venice Performance Art Week

A durational performance using only the feet whilst standing to tread and grind a single Venetian terracotta roof tile until it breaks and is slowly transformed back to dust, to "terra".

An act of persistence where vulnerability and strength, materiality and symbolism, surrender and perseverance: constantly overlap before the moment of breakthrough.


Venice International Performance Art Week


Durational performance under the mentorship of Marilyn Arsem.

Duration:  6 hours

Date: 12th December 2017

Venue:  Palazzo Mora, Venice (IT)

Context:  CO-CREATION LIVE FACTORY Prologue 1 | Venice Performance Art Week

​For each repeat, a pinch of sea salt is removed from a mountain of 4kg and is placed on the floor.  With a little white stone, clenched  in my right fist, I grind the salt meticulously until the grains become powder.

Pinch after pinch, here it is:

A thin, expanding line of fragmented personal and collective memories;

Pinch after pinch, here it is:

A subtle pathway without predefined destination;

Pinch after pinch, here it is:

A temporary map of a non existent place;

Pinch after pinch, I am still here...


5th Thessaloniki Performance Festival


​Collective performance opera by VestAndPage

Durational: 1hour

Date: 21st October 2017

Venue: SMCA State Museum of Contemporary Art, Thessaloniki, GR

Context: 5th Thessaloniki Performance Festival.


The last part of the AEGIS Cycle is also the second part of the HOME Cycle.


AEGIS VI (Home II) is an act to honour the ideal force of a community striving to identify its lieu d'appartenance, while questioning the precarious umbrella of state systems and norms that ascribe conventional meanings to both the collective and places. It refers to Hestia, the Goddess of Greek mythology of the right ordering of domesticity, family, home and the state. The final collective performance opera – developed in collaboration with five Greek artists during a one-week residency at the SMCA  – aims to reflect upon the collective in situ, as well as origin and distance.

With VestAndPage, Tomas Diafas, Fenia Kotsopoulou, Josephine Makris, Ariadne Pediotaki and Maria Zourou.

With the kind support of daz disley.

breaking time aegis




beauty apokalyotic reversd



(intervention in collaboration with Isadora Tomasi)

Duration:  15 minutes

Date: 22 July 2017

Venue:  Museo della Città e del Territorio – Giardino, Cori (IT)

Context: CALA festival 2017

Sound manipulation: Isadora Tomasi

video documentation: Daz Disley

photo documentation: Emanuele Bencivenga/Pia Maria Ciuffa

"What beauty feel like" is the slogan/logo of the famous hair removal product. A slogan that persuades the audience to believe that they will be “beautiful” as long they use this hair removal product for touchable, soft, desirable, extra smooth, moisturized and shiny legs that can proudly show off.

After the video work: "What beauty feels like", I decided to start a series of short live actions related to same theme.

In the context of CALA festival 2017, I did a 15 minutes "beauty mask" for hairy legs.

I climb and sit on the Pomegranate tree in the garden of the museum, after placing a big red tomato in one of the spiky branches of the tree. Isadora helps me by taking off my shoes. Then with a cutter I cut my black tights, revealing my hairy legs. Then the action consists on pouring slowly milk, oil and balsamic vinegar on them. At end I take the tomato and I squeeze it on the top of my legs. I come down from the tree, I water my feet, put all the remains in a metal box and I walk away.

Sequence 02.Still001.jpg

VIPAW Workshop Series

Apocalyptic Zeibekiko

Duration:  2 hours

Date: 5th - 6th of June 2017

Venue:  C32, Forte Maghera, Venice

Context: Venice International Performance Art Week | Workshop Series. Joint Performance Summer Class by La Pocha Nostra and VestAndPage, Venice, 2017.

The ritual starts with me lying down on the floor and  asking the people who are present in the space to "ground" me by pressing gently every part of my body towards the floor. Afterwards they write on the back of my naked  body their thoughts about the relationship with their body and gender. When they finish writing, I stand up, I step inside the circle of light and dance for an hour under the same song played in loop: "Zeibekiko of Eudokia" by Manos Loizos.

The performance is filmed by a camera placed on the top of the ceiling and the unedited version will be projected  on the door of the C32 performing art workspace during the final public presentation.

Zeibekiko (or Zeybekiko, Greek: Ζεϊμπέκικο) is an urban improvisational dance from Greece.


Throughout history it has been known as an intensely personal dance where people can express their individuality. Only one MAN at a time may dance it. If another got up, it would be a cause for conflict and possible violence.

Here the same dance is danced by a female body to claim space, to expose and transform its vulnerability and to find a final catharsis.

An individual ritualistic dance, shared collectively.


x-24 FESTIVAL 2017

Reversed Territories

Duration: 15Hours (with occasional breaks).

Date: 15th - 16th July 2017

Venue/context: During the x-24 festival || x-church, Gainsborough

What once was considered a map of unity, now is transformed to a map of risk, danger and separation.

Action: Tracing with chalk the outline of the European map of the 28 EU members in a black board. Within 15 hours during the x-24 festival in Gainsborough, I used 2.500 golden drawing pins, placed on the board with the spiky part facing outwards,  highlighting the border of each country. Some countries (Germany, UK, Greece, Italy, Portugal) were  filled in with the same pins, also glued outwards.

In this action some curious kids and teenagers joined voluntarily and whilst gluing pins we were speaking about experience of traveling.

WHAT BEAUTY FEELS LIKE (2017) [ph.Emanuele Bencivenga]






Durational site specific performance

Duration: 2 hours

Date: 24th May 2017

Venue: Architecture Building, University of Lincoln (UK)

This is a 2hours experimental intuitive site-responsive performance by Orinta Pranaityte, Fenia Kotsopoulou and Joana Cifre Cerda, exploring the different meanings of "holding" (in/out/on)

The performance took  place around and on "The Fiftt plinth" just outside the AAD Building.

Live Art in Greece 1918.jpg


Duration:  18min performance lecture

Date: 20th April 2016

Venue:  Goldsmiths University (London)

Context: Symposium 'SEXUALITY & GENDER IN TIMES OF CRISIS: Live Art and Feminism in Greece' as a prequel to the live art night Deep Trash: Greek Trash (23 April 2016).

Invited artists Mary Zygouri, Fenia Kotsopoulou, Chara Kolaiti and 34es presented their practice to the public, to end with anthropologist Diana Manesi, who presented her field work on Athens’ queer communities through an auto-biographical cross-genre narrative.


Bethnal Green Working Men’s Club

CUNTCINEMA: From a Greek cunt's eye view

Duration: 3Hours

Date:  23rd April 2016

Venue/context: GREEK DEEP TRASH curated by Cuntermporary

"From a Greek Cunt's-Eye-View" : a performance/video installation in collaboration with Apollvn S Delios.

Building on the work of my MFA performative reasearch/thesis (, I reverse the previous model I have created of "cunt as camera" and turn my cunt into a cinema. As a durational performer, I offer-up my body to the gaze (male, female, indifferent) and use my morphology as a viewing portal to video works reflective of current Greek issues, imagery, situation and outlooks.

holding, sexuality, cuntcinema



CUNTCINEMA: From A Greek Cunt's Eye View (2016)

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