In the October-December 2022 Hystrio Quarterly, Laura Bevione’s review of Paradiso, the choreographic installation project by Nanou, Pirri, Dorella.

A dynamic and ever-changing performance installation, to be traversed and inhabited in all its recesses, for an individually and freely chosen time. The one created by the collaboration between two choreographers, a visual artist and a musician is a composite and engaging hybrid, an experiment/experience that aims to revitalize the modes of enjoyment and assimilation of the artistic-performing event. In the large hall of the Ravenna-based Artificerie Almagià, in semi-darkness, the small domes/meduse of various sizes and constructed by Pirri from reflective materials are illuminated by Amico 's non-narrative but whimsically imaginative lights and bypassed, overtaken, used as supports by the dancers - but also by the spectators/visitors. The environment, unabashedly "other," a paradise in that it is evidently divorced from any ordinary reality, is complemented by Dorella 's immersive music-in the replica we attended, performed live by the composer himself. The dancers-a total of eight but not always all engaged on stage, so as to make each evening even more unique-give life mostly to solos and appear to be creatures out of a daydream. The viewer/visitor can choose to follow only one of them, or move frequently to change his or her perspective, or, again, focus on the chromatic variations of one of the jellyfish; or, even, squint his or her eyes, surrendering to tears of color and the hypnotic fluidity of the music. He can, in short, construct his own, very personal paradise, immanent and yet transcendent, a real place that reveals the possibility of escape, at least temporarily, into a dimension of comfortable and absolute freedom.