Visions in Guercino is a choreographic installation born out of the collaboration between gruppo nanou, curator and curator Giorgia Salerno and MAR - Art Museum of the City of Ravenna. The project confronts the pictorial universe of Guercino, generating each time a unique and unrepeatable declination.

The aesthetic landscape and linguistic signs that characterize Visions in Guercino are based on the decomposition of the painter's images, reproduced in serial form through monitors and prints, and distributed in the museum spaces that house the original work. In this context, the dancers' choreographic action interacts with Guercino's iconography, investigating and amplifying it.

Fragments and pictorial details are recomposed into an overall vision, animated by bodies traversed by the contrasting forces in the paintings. The museum is thus transformed into a space of investigation and a scenic device, becoming both a place and an object of reference for a reflection on the relationship between body, action and museum space. Each event is configured as unique, inscribed in a precise architectural context and in dialogue with the works on display.

The intervention takes place in several adjoining museum rooms, preserving the usual enjoyment of the works: the public can freely access them, pause, return and choose their own viewing time. This mode promotes an itinerant experience, in which the viewer is an active and mobile part of the journey between painting and choreography.

The fabrics worn by the dancers inspire the choreographic actions and allow immediate recognition of the bodies in space, evoking the colors and clothing of the subjects portrayed in the paintings, as well as the ornamental folds of the frames.

The floor of the rooms involved is covered with colorful carpeting inspired by Guercino's palette: minimal fields of 1.5 x 1.5 meters and multiples thereof draw a map in space, becoming the guide, boundary and rhythm of the choreographic action.

Alternating colors help generate zones of visual isolation and suggest references to pictorial frames and backdrops. Sound, spread throughout, reinforces perceptual immersion, making the museum a space to be traversed and the performance a time to be inhabited.