This contribution explores performative artistic research as a critical practice for questioning the contemporary Mediterranean in its necropolitical devices, with particular attention to the territories of central-southern Italy and inland areas. Through the intertwining of Performance Studies, post- and decolonial theories, and neo-materialist perspectives, the reflection revolves around three key notions: “necropolitics”, in the sense proposed by Achille Mbembe, as the exercise of sovereignty over life and death; “necrowritings”, according to Cristina Rivera Garza, as forms of writing traversed by restless deaths and the residues of the human; and “epistemic disarmament”, as the suspension of dominant epistemologies and openness to mediumistic, relational and trans-corporeal knowledge. Through the analysis of three works — The Last Lamentation by Valentina Medda, Attuning to / Resonating with (Sulcis) by Nicola Di Croce and Body Farm by Silvia Rampelli — the text highlights how performance, in its postures of subtraction and impermanence, elaborates practices of attunement and de-composition capable of questioning the necropolitical regimes that traverse the Mediterranean. The research arrives at the definition of disarmament as an epistemic, methodological and aesthetic practice: a gesture of dispossession and unlearning (Spivak), which suspends the representative will in order to open up spaces of commonality, reparation and re-emergence of the more-than-human.