On Saturday, April 12, from 4 PM until late, at Fucine Vulcano, Vitamina invites you to release your energy. This event transcends the digital realm, where human connection flows through bodies, glances, and shared moments, celebrating joy and freedom.
Everything begins on the dance floor. If you know, you know.
In Milan, where beats echo off concrete surfaces and the air is saturated with repressed desires, another space opens. Not just a party, but an happening—a moment of shared truth, where bodies aren’t seeking visibility, but presence. Here, we don’t participate, we happen.
Since 2016, VITAMINA pulses to the rhythm of the city with the radical lightness of daylight. It’s queer, fresh, deep. Music, art, installations, and performances: not ornaments, but transformative devices. It’s the day that becomes a ritual, the body that ceases to be an avatar.
In this context, “Me par’na pantàsema*” takes shape, a visual work that doesn’t illustrate, but transfigures. A creature with fly wings—a baby donkey, ready to discover the world—then writhes into a mute, white, heavy adolescence. The wings, once lightness, become ballast. Yet, beneath the skin, a spark still burns.
And that’s where it happens: liberation isn’t an explosion, but a subtle transition. The metamorphosis is realized in the figure of a harlequin with a basket of fruit. Joy. Life. A new, aware flight, without shame.
Leonardo Serva tells this visual story. The artistic direction is by Gabriele Papi, with graphics by Sebastian Palomares. Together, they build a performative universe that doesn’t accompany the party: it embodies it. The founder of Vitamina, Giorgio Bertaia, brings this vision to life, shaping the experience into a celebration of energy and connection.
The invitation is clear. Bring the best part of yourself. Exchange it. Vibrate. Lose yourself to find yourself, at the precise point where the gaze meets the rhythm. Nothing is just music. Nothing is just dance. It is pure presence.
We’ll see each other where it all begins.
The pantàsema* is a tradition rooted in the patronal festivals of central Italy, representing a moment of great popular involvement. The name “Pantasima” seems to derive from a corruption of the Latin term phantasma, meaning “that which is shown” or “ghost,” evoking the spectral and mysterious aspect of the figure.
At the heart of this representation is a large puppet, typically feminine in form, built with a frame of reeds covered in colored paper. Inside, there’s space for a person to wear it and perform a dance, making the puppet itself appear to come to life. To enhance the visual effect, numerous fireworks are applied, creating a festive spectacle. The figure of the Pantasima thus becomes a kind of “dancing specter,” straddling the sacred and the profane, embodying the conclusion of a long celebration.
Originally, the dance of the Pantasima had a propitiatory meaning, often linked to the conclusion of patronal celebrations. The ritual ended with the burning of the puppet, a symbolic act marking the end of the festivity and, at the same time, the transition to a new seasonal cycle. Fire, in many traditions, has always been a purifying element, and in this case, the burning of the puppet served to close the circle of the celebration, leaving behind the echo of a festivity that, despite its popular and recreational aspects, never lost its ritual significance.
LINE UP
David Elimelech
131BPM
JORGE B.
R.ocks
