Matteo Maffesanti is an Italian director and filmmaker. Sensitive to themes linked to social issues, in 2008 he founded the Elevator Bunker association with which he develops projects and workshops of participatory video and theater, in schools and educational centers, making numerous short films and performances. In 2009 in collaboration with the University of Verona he wrote and directed the short film Cinquanta di questi giorni, a pedagogical study on sexuality in the presence of intellectual disabilities. Since 2012, he has participated as a visual artist in numerous international choreographic research projects promoted by Operaestate Festival Veneto. He collaborates with numerous choreographers and artistic collectives including Alessandro Sciarroni, Golden Lion for Lifetime Achievement at Venice Biennale 2019. In 2014 he meets the choreographer and dancer Silvia Gribaudi with whom he begins an ongoing artistic relationship that develops into choreographic productions and community projects. In 2019 with Silvia Gribaudi he is co- author of the performance Humana Vergogna, a project for Matera European Capital of Culture 2019 and the performance Graces, which toured worldwide. Among his works we find the documentary 88 Giorni nelle farm australiane, about the new Italian youth migration to Australia. In 2022, on the occasion of the tenth anniversary of Alessandro Sciarroni's performance Folk-s, he presented the documentary Will You Still Love Me Tomorrow? at the Bolzano Danza 2022 festival and in collaboration with the Triennale Milano, the video of the performance Voci da Mondo Reale, directed by composer and musician Alexis Paul in partnership with Alessandro Sciarroni. In the same year, he documented the projects Biennale Democrazia, promoted by the Teatro Stabile di Torino and Torinodanza Festival, and Agorà - Le città vicine by Virgilio Sieni, as part of the Festival Danza Estate Bergamo and the Fondazione del Teatro Grande di Brescia in the context of Bergamo Brescia, the Italian Capital of Culture 2023.
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