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Matteo Sedda, choreographer, dancer, and activist of Sardinian origin, has collaborated and continues to work as a freelance for various artists, including Jan Fabre, Enzo Cosimi, Aïda Gabriëls, Igor x Moreno and Dag Taeldeman & Andrew Van Ostade.
Since 2018, Sedda has been pursuing choreographic research, deeply marked by his experience with HIV. Exploring desire and vulnerability, he aims to create new representations of AIDS that renew the dialogue between historical memory and artistic remodelling.
His work pays tribute to the artists lost to complications related to GRID (Gay-Related Immune Deficiency), establishing a contemporary dialogue with the past and making his infected body the starting point for a new choreographic writing.
After his first solo POZ!, in which his coming out as a person living with HIV became both a political and artistic manifesto, he continued his journey with FUCK ME BLIND, a choreographic duet awarded the DNAppunti Coreografici 2024 prize.
As an activist he shares his personal experience to provide information and support regarding HIV. He collaborates with several organisations from Europe, including LILA, Sensoa, Ex Aequo, and Plateforme Prévention Sida.
The decision to embark on this artistic journey not only serves an aesthetic purpose but also delves into the intimate sphere. Like many other artists and non-artists, we are bound by a thread that was initially woven around the bodies of minorities. The debt I feel to millions of unknown individuals compels me to embark on personal artistic research.
Throughout the 1980s and 1990s, individuals with AIDS were marginalized due to their loss of productive capacity. Deemed useless, uncontrollable, expensive, and perceived as threats to society, this stigma continues to infect our culture today. The revelation of my serological status propelled me into a realm of isolation and exclusion. Engaging in the study of artistic practices centered on AIDS representation not only fostered psychophysical well-being but also cultivated a profound sociopolitical awareness, ultimately culminating in artistic vindication.
HIV has had a profound impact on society, challenging the very notion of culture, and it continues to do so. It evolves alongside the cities in which it resides, and its historical, artistic, and political significance varies from individual to individual, from one situation to another. As a result, the/my body becomes a product of these social changes, with its physical intimacy assuming both artistic and political significance.
My choreographic research aims to challenge traditional categorizations and create new narratives that resonate with the contemporary present by re-appropriating languages from various disciplines inspired by deceased GRID (Gay-Related Immune Deficiency) artists.