Cristina Kristal Rizzo is a dancemaker based in Florence, Her interests concern choreography in an expanded field, something that she has approached through experimental practices and creative process in multiplicity of formats and expressions. She has been active on stage as performer and creator since '94. Co-founder of the collective Kinkaleri with which she shared the creation and planning of all the production from 1995 to 2007, touring the international contemporary dance scene and receiving several awards such as the Premio Lo Straniero and the italian theatre award Premio Ubu. Since 2008 she undertook an autonomous career of production and experimental choreography, converging her body research towards a theoretical reflection with a strong dynamic impact. The first project she signed as an author is Dance N°3 (coproduced by Roma Europa and Festival and Aperto Festival), with exchanges of body writing between the choreographers Eszter Salamon, Michele Di Stefano and Matteo Levaggi.
Concentrating in this first phase on the necessity to regenerate the act of creation itself, between 2010 and 2011 she produces several choreographic objects half way in between performance, dance and visual arts. In particular: the touring performance AHAH; the big scale project WAUDEVILLE; the solo VOICE OVER co-realized with the choreographer Eszter Salamon; the performance lectures EX/porno; the duet with a dog MICRO DANCES WITH A TRAINED DOG; the participation at the project Critical Cab (Xing/F.I.S.Co. 2011) and Instruction Series III/Orang Orang (DNA-Roma Europa Festival 2011). The next production has been oriented towards a research aiming to open up reflections and new imaginaries on the present starting from the western culture. In 2012 comes out INVISIBLE PIECE, a solo starting from a historical dance piece (The Dying Swan in the very first famous version danced by Anna Pavlova) dialoguing with it in a critical and complementary way. In 2013 LA SAGRA DELLA PRIMAVERA FEAR AND LOATHING IN LAS VEGAS, a work which trough a crowding-out effect between visual and sound, proposes a different Sacre from Stravinsky. In 2014 the new performance BoleroEffect around the BOLERO by Ravel, produced by the Biennale Danza of Venezia, is inscribed in this path as the last halt of investigation directly related to the history of dance.
From 2012 she also participates at several collateral projects: she is developing with the scholar Lucia Amara the research project LOVEEEE (in collaboration with Xing) consisting on a series of performances lectures on the theme of 'grace'; she is invited as host choreographer at Biennale Danza in Venice for the project Atleta Donna; she is an interpreter for a production with the Moroccan choreographer Taoufiq Izeddiou for Août En Danse in Marseille; she is host choreographer for the project Miniature Officinae for Marseille Capitale Européenne de la Culture; she is invited as choreographer for the project Digitalife Human Connections by Fondazione Roma Europa at the contemporary art museum Macro Testaccio in Rome; she is invited as choreographer by Ater Balletto for the production of a new creation TEMPESTA/THE SPIRITS and for the Maggio Musicale Fiorentino she signs the choreography of ORFEO E EURIDICE with music by Gluck and the direction of Denis Krief at Teatro della Pergola in Firenze.
In 2015 she realized with the production of Bolzano Danza Festival and the Museum of Contemporary Art Museion in Bolzano, the multimedia event performance TECHNO CASA PLUS collaborating with the visual artist Riccardo Benassi. She also developed the special project BALINESE DANCE PLATFORM for Santarcangelo Festival 14 and 15.
She is a graduate in New York at the Martha Graham School of Contemporary Dance and at the studios of Merce Cunningham and Trisha Brown. She collaborated with various artistic Italian platforms such as Teatro Valdoca, Roberto Castello, Stoa/Claudia Castellucci, MK, Virgilio Sieni, Santasangre.
Her work is supported by TIR Danza and MiC (Ministero della Cultura).

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