Polyphonies

Aïda Gabriëls / oester

Premiere: 22/03/2025 – KlaraFestival – Bozar, Brussels (BE)

Passages

Aïda Gabriëls / oester

Premiere: 15/05/2024 – KMSKA, Antwerp (BE)

Karrasekare

Igor x Moreno

Premiere: 04/11/2023 – Romaeuropa Festival – Teatro Vascello, Rome (IT)

The Wild Stage

Aïda Gabriëls / oester

Premiere: 16/09/2022 – Ancienne Belgique, Brussels (BE)

Hear me moo

Crossroads - Inhabiting the world

Premiere: 03/04/2022 – Kolkata Centre for Creativity, Kolkata (IN)

Body Body Body Body

Dag Taeldeman and Andrew Van Ostade

Premiere: 12/03/2022 – Festival Artdanthé – Théâtre de Vanves, Paris (FR)

NEVER STOP SCROLLING BABY

Collettivo Vitamina

Premiere: 08/02/2022 – Festival Faits d’Hiver – Théâtre de Vanves, Paris (FR)

Mount Olympus

Troubleyn / Jan Fabre

Premiere: 27/06/2015 Foreign Affairs – Berliner Festspiele, Berlin (DE)


THE GENEROSITY OF DORCAS

Troubleyn / Jan Fabre

Premiere: 26/06/2018 Zomer van Antwerpen Festival – Troubleyn/Laboratorium, Antwerp (BE)

‘Sedda is showing the best dancing performance of the top-class Impulstanz Festival so far.’
Silvia Kargl – Kurier


‘Matteo Sedda is certainly a contemporary dancer, but he shows that ballet does not frighten him or even mimic him, and that he would, if necessary, be a formidable conjurer, ready to exercise his talents on the elements of a scenography. Unforgettable.’
Thomas Hahn – Artistikrezzo


‘Sedda is a fascinating dancer, not only for his performance, but for his physical ability, turns, jumps, that way he has to shake his whole body at enormous speed, or at the same time take space without a centimeter left unoccupied, because his artistic personality is tremendous.’
Marta Carrasco – ABC de Sevilla

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CORPUS HOMINIS

Enzo Cosimi

Premiere: 06/09/2016 – Festival Danza Urbana – Dynamo Velostazione, Bologne (IT)

“…and the protagonist becomes the intense body of Matteo Sedda, extreme both internally and externally. In his solo, aggression meets fragility; there is an erotic and animalistic drive, fear, and surrender. The violent movements act as channels of energy that convey vigour, but also unease. Once again, the audience is left with a feeling of underlying guilt: we are faced with an exposure that provokes discomfort. Can we really bear to witness so much soul and body in a performance?”
Silvia Ferrari – Paneacquaculture

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