Attack is an installation in which the body of the performer is an integral part of the work. The research of performance and image is focused on the close relationship among body, material, and space: between the limit of the material and the research of inner freedom.
Attack is a black hole, a howitzer, a truncated cone two meters high and three deep, completely covered with black velcro. Inside it, as a cocoon – perhaps an embryo or a virus – is the performer, also wrapped in black velcro. The body is camouflaged and interacts with the construction, generating sounds in real time, produced by the rubbing of the materials and by the strain required for every movement. It derives from this a difficult and pained relation – a study of bonds, movement, and freedom within the static nature of the material – where sculpture, dance, and sound are accomplices on stage.
Like two watchful eyes, two microcameras, positioned on opposite sides of the cone, film the action in side the cone and transmit to two monitors on the outside. The images produced suggest perspectives and notions different from those created live.
Attack is a project in evolution: the first phase was presented under the name “Mara's Attack” as a prototype in “Spaces for Contemporary Dance 08” in Turin; the second phase, in which the video part was added, was performed at the Albertina Academy of Fine Arts in Turin; and the third phase, still further developed, was offered for “Platform 2009” in Turin. In each phase the project has been modified with respect to the performance space, with new artistic grafts for each event.
"The dazzling solo of Gabriella Cerritelli’s Mara's Attack stands out. A performance characterized by the extraordinary conceptual synergy of all the elements comprising it. Cerritelli, sheathed in special black velcro overalls, acts inside and outside of a sort of metallic cement mixer, a great constructionsite uterus created by the multisensory artist Paolo Grassino. A cone three meters in length, claustrophobic and symbiotic due to the velcro with which it is covered and which adheres to the outfit of the performer, creating a sound track of rips, pathos, and violent lacerations."
Claudia Allasia (La Repubblica)