Federica Dauri is a performer, choreographer and visual artist, born in Italy and currently living in Berlin. She lived and worked in New York and Amsterdam for the last ten years.
While studying ballet, contemporary dance and choreography at the National Academy of dance in Rome, Dauri specialized in a more critical investigation on the body politics , philosophy and critical theory and performing art. Her studies enabled her to pursue a manifold range of artist mediums.
Her creative work expounds( finds its roots) on a critical engagement with Rudolf Steiner’s system of Eurythmy( sicura che non si dica Eurythmics), a rhythmical and physical vocalic expression, as well as the Japanese performance art Butoh. She refined her performance signature under the tutelage ( focus, lead direction) of Trisha Brown in New York, Akira Kasai in Italy, and Masaki Iwana in France.
Dauri’s body becomes the spatial and temporal site through which social norms ( forse aspects)are explored, challenged, and deconstructed. She has produced and directed original performance work for art residencies, established exhibition spaces and performing art festivals in Europe such Gallery Xavier Laboulbenne, Santarcangelo festival, Buffer Fringe festival, Enter Art Foundation, Sch, ICK Amsterdam, University Fine Art Sofia, Volksbuhne Berlin, Sculpture Quadrennial Riga and many others.
Her artistic practice focuses on the use of the body as the subject and as the object of her creations. Through the performative act, her body becomes the creation itself.
The body is both a medium and a creative tool which feel the urge to communicate.
Her current work as a performance artist decentralises the normative ‘corpus’ and denaturalises the social body as a site of normalisation. Her work reflects a critical engagement with her interests in interrogating notions of ‘the erotic’ in body politics through a post-humanist subversion of anthropocentrism.
Dauri works as well on tour between Europe and USA since 2015 with Canadian artist and singer Peaches.
Photo credit: Alwin Poiana