With fierce and merciless humor, the contemporary man is portrayed as a weak individual, incapable of building harmonious relationships with women.

In Laure Anderson’s breath-taking VR installation the viewer experience being shot out from earth, walking on the surface of the moon and being lifted up the side of a lunar mountain and then tossed off.

Resisting sentimental clichés of sympathy and consolation, in Queens Row American director Richard Maxwell masterfully envisions a future which confirms many of the darkest fears of today while allowing a ray of hope to slice through the darkness.

In the solo performance SOMNOLE, Boris Charmatz – one of France’s most celebrated contemporary choreographers – explores the transitional state of hibernation, paying attention to what lies underneath the surface, from daydreaming to the scream of awakening.

Yet, beside the patience and effort required by performing reiterative patterns, a new quality emerges, which eludes definition. Determination seems to lead to disappearance, to a voluntary extinction of the subject. The dance embodies an extreme act of love and, as in John Cage’s music, becomes a bridge to the sublime.

The metropolitan threads of their urban DNA merge with the analogue tones of the Venaus Quintet’s strings and with Miccolis’ tribal and world-wide-inspired percussions – all arranged and directed by maestro Giorgio Mirto.

Trusting the artists’ understanding of musicality and rhythm, the dramaturgy makes room for improvisation and the unknown, producing absurd and grotesque moments.

Susanne Kennedy, winner of the 14th Europe Prize New Theatrical Realities and one of the most original artists on the world scene, is for the first time presenting one of her works in Italy.

In Italian premiere FOG presents the concert of the Northern Irish singer-songwriter Neil Hannon, with a live performance of tracks from his latest album, Charmed Life: The best of The Divine Comedy.

For the fifth edition of the festival, Radio Raheem extends and enlivens its programming at the Palazzo dell’Arte with “real life” live sets, live performances and radio programmes in the Triennale’s corridors and halls, featuring artists Jay Glass Dubs, L I M, Volume & Friends, Ormeye, and Elasi.

A creative and interactive project about family bonds, exploring and celebrating their ability to produce a joint venture, a collective design.

This series of short films by dance artist Smaïl Kanouté deals with the impact of colonialism and the persistence of ancestral rites as an affirmation of identity.

Echoing the hashtag #Never21 designed by the Black Lives Matter movement, this dance performance pays tribute to the victims of gun violence in New York, Rio or Johannesburg – who will never turn 21.

In this suspended time, invisible structures firmly divide those who seek refuge from those who control their fate. The work reflects on the paradox of telling a story from its politically charged middle.

A cross-cultural performance, maqam by Italian company mk is titled after an Arabic word which signifies, among other things, the system of melodic modes used in traditional Arab music, a musical improvisation technique used across the Middle East.

The representation of death – a vertiginous proposition. Taking as starting point Rudolf Nureyev’s 1991 staging of the classical ballet La Bayadère, choreographed while his health was critically deteriorating, Christodoulos Panayiotou’s lecture-performance Dying on Stage is a meditation on the impossible theatrical representation of death.

The inventive duo of visual artists and choreographers Clédat & Petitpierre presents in Italian premiere Les baigneurs (“The bathers”), inspired by a subject often found in modern paintings.

One hundred skeletons march through the streets of Milan one November night. The silent eloquence of their advance expresses what they can no longer say. They have walked for an hour across squares, monumental sites and churchyards.

The choreographer Annamaria Ajmone presents La notte è il mio giorno preferito (“The night is my favorite day”), a reflection on our relationship with otherness which explores animal ecosystems.

Born in London but of Chinese and Malaysian origins, Flora Yin Wong is a sound artist, DJ and experimental writer whose work combines field-recording and ancient traditional instruments (such as Tibetan bells, yangqin and kemence) with electronic processing.

Vittorio Cosma directs an improvised happening (with Pacifico, Whitemary and Jeremiah Fraites of the Lumineers.) which places music at its centres, enabling the audience to gain direct experience of the creative mechanisms of musical composition.

With the performative installation Rettilario, Sara Leghissa invites the audience to connect with an environment which is both natural and artificial, creating a unique perceptive experience that provokes a defamiliarizing effect.

Pasionaria depicts an imaginary world, forged by everyone’s collective effort: the place we call progress. Yet here life has become an artificial experience and the inhabitants of this ideal planet have lost the ability to feel any emotion or passion.

The duo of authors, directors and performers Daria Deflorian and Antonio Tagliarini engage with Federico Fellini’s cinematic vision and with his deep exploration of human life. The result is a piece on coming together, dancing together, being a couple – on intimacy and dialogue.

An intimate and evocative solo, My body solo explores the relational possibilities between individual existence and collective experience.

An early work by the Swiss writer Robert Walser, L’Etang is a family drama: a boy feels unloved by his mother and stages his suicide in the desperate attempt to experience her love.

Marrying performance, installation and game design, the Swiss research duo Trickster-p questions old biological, ecological and anthropological models to transform the theatre into a big game board.

What is left today of a choreographic work which is considered a milestone in 20th century Western dance history? In what forms and through what bodies has it survived over time? Who is in charge of its legacy and why? What traces has it left in the choreographers of today and what values can it carry into the future?

Vittorio Cosma directs an improvised happening (with Bolla, Enrico Gabrielli and Frenetik) which places music at its centres, enabling the audience to gain direct experience of the creative mechanisms of musical composition.

The Berlin-based Dance On Ensemble celebrates the artistic excellence of dancers aged 40+. They present a program which restages iconic works and invites contemporary artists to rewrite them in their own creative languages.

On the occasion of the show of the Berlin collective Dance On Ensemble, the artistic director of the company, Ty Boomershine, dialogues with Valeria Crippa (Corriere della Sera) and Felice Scalvini (Fondazione Ravasi Garzanti).

On the occasion of the performance by the company Dance On Ensemble, Miki Orihara – one of the dancers of the collective – offers a workshop dedicated to professional dancers. The workshop focuses on Martha Graham's technique.

For the first time performing outside Japan, dance duo Aguyoshi makes intriguing, poetic and funny works which are very popular on Twitter and Instagram.

Searching for a new relationship between body and nature, movement and urban space, they interact with the city’s everyday life, prompting an unusual encounter with members of the general public who also become spectators. 

In closing of the festival, Radio Raheem – Triennale Milano's resident radio station – presents a musical event between avant-garde soul, avant pop and afro-futuristic electronic. The main artist of the evening is Wayne Snow. The program is completed by two dj sets by Turbojazz and Donna Leake.