LAURA PANTE (1983) is a dancer and artistic researcher of dance theories and practices. She graduated in Visual Arts at IUAV University of Venice. Since October 2020 she has been a PhD student at the same university, where she conducts research titled Soil, Landscape, Habitat - three ways of the relationship between presence, body and the virtual under the supervision of Prof. Annalisa Sacchi. In 2019, she completed a period of study at APASS (Advanced Performance and Scenographic Studies) in Brussels.
Her research focuses on the analysis of the political articulation of thought and movement in the context of the relationship between body techniques and technologies of the self. She actualizes her artistic research by developing choreographic devices, performance projects, pedagogical experiences, dramaturgical practices and critical writings in which it is the body’s knowledge that stimulates new theoretical discourses and incentivizes the development of transdisciplinary and transhistorical procedures under the definition of expanded choregraphies.
Since 2017 she has been writing for Cactus Magazine, a visual culture magazine edited by Simone Rossi in which he develops a column titled Habitat series where she writes critical interventions on the artists and choreographers Cristina Kristal Rizzo, Anna Franceschini, Barok the Great, Annamaria Ajmone, and Enrico Malatesta. Some of her writings appeared in Artex (2022) and in Peng X, a notebook of signs, words and discourses edited by Silvia Fanti and Daniele Gasparinetti at the conclusion of the Live Art Week X festival (2021). She published her text Your wifi is streaming, my wifi is dreaming in the book titled These circumstances: On collaboration, performativity, self-organization and transdisciplinarity in research-based practices, edited by Lilia Mestre and Philippine Hoege, produced by APASS (Brussels, 2022).
In recent years she is on stage as a dancer for Jérôme Bel (Laura Pante, 2021), Cristina Kristal Rizzo (Sonno, 2021), Virgilio Sieni (Aura - on touching things, 2021), Romeo Castellucci (Tannhauser, 2017 - Ethica - Nature and origin of mind, 2016 - Giudizio, possibilità, essere, 2015 - Unheard, 2014), Silvia Costa (Alla traccia - Lode a ciò che è stato rimosso, 2016 - A sangue freddo, 2015), Compagnia Abbondanza Bertoni (Armida, opera directed by Luca Ronconi, 2015).
As performer, she works for visual artists such as Giorgio Andreotta Calò (Remoto, 2022); Anna Franceschini with whom she has collaborated since 2015 (Heels, 2021- Discolite, 2016 - 2022 - Doposole, 2016 - The diva who became an alphabet, 2015) and Alexis Blake (We will not be moved, 2016). Since 2019 she has been collaborating with the choreographer Cristina Kristal Rizzo as a theoretical accompaniment to her projects titled Toccare (2019) and Monumentum DA (2023).