We speak of redrum their latest production, an archive of visual and gestural memories of the group itself, we venture to think of it even as a perfect synthesis of a now 20-year journey.

The work of group nanou is also part of this idea of a festival with many souls, arriving in Rome after a path that has allowed them to redefine a character that is in itself installation-based but from time to time recalibrated in the spaces frequented.
We speak of redrum their latest production, an archive of visual and gestural memories of the group itself, we venture in thinking of it even as a perfect synthesis of a path now twenty years. Also set up in an indoor hall of India, it creates scenic islands and walkways, corridors that change the whole area into a large mobile platform, like an island made of islands where mobility is given only to and to the performers and in the gaze of the spectator (positioned in different areas of the hall as well as on the stalls steps).
Redrum is the experiential pick that allows us to reflect on time, on the concept of personal and collective vision; it makes available, it was said, an archive of accents and choreographic trajectories; and, like Joris Karl Huysmans' À rebours, but without the nostalgic rhetoric of the novel, it systematizes an alphabet of signs by reiterating them, emptying them of ancestry, even making them "ungrammatical" and for this reason surfacing with pure splendor.

For a considerable amount of time that allows us to enter or leave at will, the work continues its unfolding in phases of occupation of space, of verification (even physical) of environments, of triggering seemingly random actions, perhaps they are, in that extroverted mix of filling and emptying of perception. This epigrammatic possibility hints at a liberating (and libertarian) positioning of duration (it was said), in the consistency or evanescence of the forms that go on stage. The device has memories of that modal realism already investigated in the Motel Rooms trilogy, where all worlds coexisted, but it also happily "stumbles" into a kind of treatment of reversal (yet another reversal), where what is seen is not what is, the authentic is an elusive thought, a masquerade, where Michail Michajlovič Bachtin placed much hope in the reversal of roles in Carnival, Richard Sennett tells us.

Redrum is a dry, flawless work of trajectories, hinted passages, afterthoughts, bending walks with outstretched arms (their true company signature logo), changes of course when it crosses the fortuitous passage of an unsuspecting spectator, of waiting. A ritual in the present of defiance, starting from the self, from one's own history.