In a populated pool drained of water, conversations about language, power and intellectual endeavour take place. Who are the strange creatoids that seem to blend into the chalk-white tiles as both living beings and objects?


6 Oct


7 Oct


8 Oct


Filmmaker Pasolini's unfinished novel 'Petrolio' was published in autumn 1992, 17 years after his death. In November 1994, Cristina Caprioli presented 'Petrolio - accumulation of matter', a choreography based on Pasolini's text that relied on the political power of poetry.

Twenty years later, in November 2014, Cristina Petrolio2 produced another work that affirmed Pasolini's confidence in language, poetry, austerity, intellectual endeavour, visual opulence, power politics, violence and eroticism. Then through a rereading of his last film "Salò, or 120 days of Sodom". Petrolio2 became a poetic barricade, performed in an empty pool by a crowd of people. creatoid and a poet in collective crawling, listening, speaking, reproducing texts by Johan Jönson, Pier Paolo Pasolini and the Marquis de Sade.

As part of a ccap retrospective this year, Petrolio2 resumes. Now with two authors Tone Schunnesson and Johan Jönson - and therefore with the new title Petrolio22.

Photo: Maryam Barari

Cristina Caprioli

Cristina Caprioli is a dancer and choreographer based in Stockholm. In the mid-1990s, she founded the independent organisation ccap, within which she produces stage performances, installations, films, objects, publications and other choreography, as well as conducting long-term interdisciplinary research projects. Caprioli's choreography is characterised by precision, complexity and physical high technology. All her productions challenge the field's normative formats and economies of exchange. From 2008 to 2013, Caprioli was Professor of Choreographic Composition at the School of Dance and Circus (DOCH) in Stockholm, and she has received numerous scholarships and awards.


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Polar walk

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