not enough to see

Round, mono lid, hooded

downturned, upturned, almond

wandering eye

a traveling lens

hairy textural skin

wet eyeballs

scratchy eye-lashes

The eyes have been used to signify a perverse capacity

honed to perfection in the history of science tied to




and male supremacy

How to see?

Where to see from?

What limits to vision?

What to see for?

Whom to see with?

Who gets to have more than one point of view?

Who gets blinded?

Who wear blinders?

Who interpret the visual field?

What other sensory powers do we wish to cultivate besides vision?

In the history of westerncivilization we appropriate the world in the form of images.

A civilisation of the gaze,founded on the primacy of theeye and the sovereignty of the observer subject.

What it means to see?

how necessary it is to exchange glances?

NOT ENOUGH TO SEE is a trans-disciplinary research that explores the sense of sight and the gaze. 
This participatory and visual performance combines movement research, dialogues and interaction with the audience, theory, music and video installation. Based on interviews with the audience around the sense of sight, the theme of the eyes is treated on its organicity, but also as a tool to build an alternative kind of relationship founded on power balance and pleasure in the encounter. Emboding the ideas of the social and feminist Roslyn H.Bologh, during the live performance the participants are invited by the performer playing and moving along and around object of interest and interested subject, in order to build a temporary community.

Concept & performance Silvia Marazzi
Set and video design Kristel Zimmer
Video Rebecca McCarthy & Kymbali Williams
Live music Inga Stenøien/Gasper Piano
Sound Wilson Tanner Smith
Costume Karl Joonas Alamaa
Light design Rommi Ruttas, Jari Matsi
Co-produced and supported by : Eesti Muusika- ja Teatriakadeemia, DeBijloke, LOD, KASK, IOA, Conservstorium Gent, HO Gent, Spectra


As part of the project Timemonochromes, Silvia Marazzi and Guy Vandromme get in close collaboration with the early solo piano works of Morton Feldman (1926-1987) in order to organize a musical living intervention that will be based on the concept of a pop up living sounding installation.
Based on architectural spaces that will become sonoric environments, they will each time set up a temporally installation that will allow to use the space as a sonoric eco-system that is reflecting the outside reality identity of the geographical location.
In this creative exploration Timemonochromes, the movement is truly aimed at meeting the intimate encounter with the substance of sound. Morton Feldman's early piano pieces, have a poetical and painterly qualities. They are absolutely transparent and completely devoid of vanity. Predominantly slow and very quiet, they are also rich, subtle and elegant. Using the same principal of Feldman’s composition, the choreography is unpredictable and circular.
The performance, conceived as a product of a physical-sensitive space that the dancer  and the musician inhabit, is a totally abstract sonic and kinetic adventure.
In this dialogue between movement and sound, dynamics are independent and there is rhythmic freedom within the confines of the box that allows for little more than occasional displacement. The movement and the sound independent but eventually connected, they speak for themselves and articulate the silences.
Working on the silence, the lack, the emptiness as synonymous of infinite wealth of possibilities, openness and freedom.
Void, therefore, is conceived not as a simple denial of the full, but as an existing entity itself. It is not therefore an absolute value, but rather a dynamic and a method that invalidates prejudices to create a void in which everything is shown in its truth.
The execution of artistic forms needs a great meditation concentration in order to reach the vacuum state. In this context, empty space should not be filled but enjoyed. In a same way Art does not look for the aesthetic purpose, but the act itself enriches the relationship. Relationship with people, relationship with nature, with objects.
The intuition of void is astonishing, discovering that it exists everywhere and that reality is basically one of possible manifestation of its endless possibilities completely changes the reference points of view.

A project by Guy Vandromme and Silvia Marazzi
Video by Giada D'Addazio 
Photo by Timothé Fillon


A solo performance about climate change and a reflection about Anthropocene. When human activity has been the dominant influence on the environment, what will be the consequences for nature? When the ice melted is a video installation in which nature exists only through the use of technology.The human body as a strong presence bring the responsability of awareness and sharing, the development of the human link.

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Dance and concept: Silvia Marazzi
Camera: Timothé Fillon
Dramaturgy assistent: France Lamboray
Supported by: La Maison Commune


What kind of society does the body need? What kind of society is it that the body desires? What does my body know about society? Or better how the body can encompass the complexity, ambiguity, confusion, contradictions, beauty and pain that we face as society?

In a research of a collective identity in non-places, Stayrs is an interactive device that transforms passers-by into performers. The public is invited to place themselves in different arrangements in order to create a collective architectural choreography proposed by the performer.

Dance and concept: Silvia Marazzi
Camera: Timothé Fillon
Music: Third Colony

Quel type de société le corps a-t-il besoin? Quel type de société le corps désire-t-il? Que sait mon corps de la société? Ou comment le corps peut englober la complexité, l'ambiguïté, la confusion, les contradictions, la beauté et la douleur auxquelles nous sommes confrontés en tant que société?

À la recherche d'une identité collective dans les non-lieux, Stayrs est un dispositif interactif qui transforme les passants en performeurs. Le public est invité à se placer dans différents arrangements afin de créer une chorégraphie architectonique collective proposée par l'interprète.

Danse et concept : Silvia Marazzi
Video : Timothé Fillon
Musique : Third Colony

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Purple - lush, rich, tactile, sweetly and musky aromatic movement an improvisation on Alva Noto and Ryuichi Sakamoto "Vrioon".

Dance and concept: Silvia Marazzi
Camera: Timothé Fillon Supported by:Centre culturel du Brabant wallon 

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Video performance of dance and text, a hymn to transformation, to the pluri metamorphose of the body.

Dance and text: Silvia Marazzi
Camera: Timothé Fillon
Supported by: Espace Catastrophe


Je change, je me transforme  
Métamorphose protéiforme je plonge 
mon corps s’effondre
(Sono la figlia sono la madre sono sono l’amante sono la santa)

Mon corps se dessine dans un désert sans ombre
Incolore mon échine
Dans la lumière s’estompe

Form- lost -consistency, no -connections no- roots no -communication
I forgot what it was - what it wasn’t now what I feel
(j’ai oublié le sujet)

Sans origine ni fin
Je change je me transforme
Sublime les louves qui dorment

Dove andare come fare devo andare per restare partire non tornare
(I lost my way home )

Shake off my skin like a snake, fluidity of movements

Cerco nelle viscere del mio corpo
suck in my blood - stuck in my bones
- Life

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Human Integration
In a sublime vast space subject to changing light, the human being, perceived as a tiny creature, seeks its shelter.
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Wake up the sleeping mountain Sunrise in a lunar atmosphere the living takes movements as part of the landscape.

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Chasing waves
An ephemeral moment of beauty delighted by playful movements in the impractical hope of catching waves.
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Tread wind
Swirling flow of movements led by the vital force of the Trade Winds. Trade derives from the ancient form tread which meant path. This referred precisely to the fact that these winds always blow in a very precise direction,almost as if to trace a path or route.


"Magnus ab integro saeclorum nascitur ordo."
Bucolica, IV eclogue by Virgil

Video performance on Jon Deerhill music about the utopic theme of a hipothetic futuristic nature.

Dance and conception: Silvia Marazzi
Music:Jon Deerhill
Camera: Timothé Fillon


Performance in site specific and art installations by Robert Irwin and James Turrell.

Dance: Silvia Marazzi
Music: Jon Deerhill
Supported by: Villa Panza

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