Eva Geatti


From a desire to share thoughts and images that inhabit the present world but can open onto utopias and visions, I work with the matter of theater. My artistic research is closely linked to action, to the body that writes the gesture and to its becoming dramaturgy of relationships and intentions: trying to build a perfectly functional world but on other assumptions, working towards a prismatic writing/score of actions, of the here and now, which can be played and replayed but remains open nevertheless. I love shared directions, symmetrical practices, unacknowledged abilities, the flammability of visions, the intransigence of affections, the silence of concentrations, and all the unexpected that derives from them.

Eva Geatti

Eva Geatti, born in 1981, studied art. She designs, performs and builds constructions. With Nicola Toffolini in 2003 she founded Cosmesi Theater Company, presenting their work in many national and international institutions and festivals – Santarcangelo Festival, Drodesera and Short Theatre among others. She has worked for research companies such as Masque Teatro, Motus, Ateliersi, Teatrino Clandestino; played the accordion on the roof of the Angelo Mai; she held workshops at IUAV in Venice and in Palazzo Strozzi (Florence), while she currently teaches at the Academy of Fine Arts in Bologna. She built a shrine of smoke bombs for Ateliersi; accompanied a group of “Wild Detectives’ with Silvia Bottiroli for a year and renewed the collaboration with Bottiroli in the frame of the project Fuori (ERT). She designed the cover of a BeMyDelay record and made pirouettes for Jérome Bel at the Venice Biennale; she had two solo shows with bizarre titles in Bologna and Santarcangelo; she collaborated as assistant director with Giuliana Musso. She contributed with her poetic text to the guide on the Italian region Friuli Venezia Giulia called “On the regimentation of water and baby dragons”; she organized the Conferenze Santarcangioline (Lectures on Santarcangelo) and held a workshop on Trap and Russian Romance with Dario Moroldo; she is part of the musical project Donna Circo; is an associated artist of Spazio Kor (Asti) and has recently contributed with a performance to Civitonia Festival, curated by Giovanni Attili and Silvia Calderoni. For her last works as Cosmesi she dug a hole and produced and sang in a pop record, while in 2022 she debuted as solo director with the show La vaga Grazia.

PERIODONERO is a project of 2008 with COSMESI 

A simple body, rectangular, flat, and bright – a space to be attacked with black forms. exactly like the beginning of the text you are reading.. the state of things at their very beginning, before all events, before vision, before all words. a space that is purely conceptual.

As if it were a rain cloud passing by, or a sheet of music with low notes being leafed through, or a hen crossing a busy street, periodo nero [black period] flows under our eyes, attracting all sorts of misfortunes and failures. a succession of negative events, not caused by carelessness, nor by criminal offenses of any kind, shows up on the screen – narrating a series of mishaps, big and small, through a sequence of toggling graphic captions. negativity, both in abstract and literal terms, follows the reflections as they become completely discredited, muted, disfavored. in a space and time visualized with the help of a monitor screen, a time not too distant from our age, periodo nero is cast as a massacre-show where everything that can go wrong, will go wrong, because every single element is black, I’m a shadow, negative. so enjoy the show.



a project of 2015 with COSMESI

a plot of three biographical fragments (Henry David Thoreau – Theodore Kaczynski – Eva)

Di Natura Violenta [Violent by nature] is a research project that develops through the horizontal dimension of voices and words, through superimposition and layering, with images stripped to the bone, because isolation is what we want to talk about.
The collective imagination has created a notion of Nature that is almost entirely abstract. What is the definition of wild, of elsewhere, of uncontrollable, and how do we look for isolation, escape, how do we collect our thoughts in solitude? Nature is chewed and digested by this society of emotional ready-mades. It is an idea, a reflection of language, a recoil on human beings. It is separated by its obscure nearness to humans, which we can feel deep inside. There is something that detaches us from experience: traces of it can only be captured if we try hard enough. In the show, part of the biography of two characters is used as a pretext to get to a deeper feeling, a human, shared feeling. The choice of individuals to isolate themselves and cut themselves off from society is the spark, which provides a new point of view – the construction of a conflict between narratives, embodied by a figure that is unrelated to the stage narrative, but is meant to be an archetype. To search for a narration of the unsaid, in words and sounds and comments: “figures like bridges” to reconnect to the elsewhere – because the loneliness of an individual manifests itself as distance; because an isolated individual is still communicating with others, in an intimate way. Figures that light tiny sparks within the strange abandon we feel inside when we try to approach Nature, even wild nature, even human nature.

New Voices