We approach Sunday’s intergenerational journey by suggesting a different way to be and share, from non-frontal and directed places. We will spend the day surrounded by projects that will bring us closer to visual and performing arts from multiple intersectional perspectivess.
A journey with:
BURN BABY, BURN! (travesti art workshop) with Colectivo TeknoDrag: Symphony of the Seas (Xavier Manubens) and Mama Lynch (Lyn Diniz)
In this workshop we will follow a sensitive parcourse through the body and the transformation of our image in order to find new potentialities for what we are. We will travel together in order to find out the bodies and forms we can produce and how we can do it by exploring the adventure potential of a dance room.
Solo vine a bañarme (theatre) with Andrea Pellejero
(I just came to take a bath) “Five years ago, I suffered a panic attack. Just like that, I was just taking a bath. It was a sudden panic about vanishing, about a huge void. The fear of nothingness. From that day on, there is a filter inside me that keeps me obsessed. It is subtle, fuzzy, I feel it in how I perceive the little moments (…)”. (With the support of El Canal Centre d’Arts Escèniques Salt/Girona”.
El papel es la pista (publication) with Anabella Pareja Robinson
El papel es la pista (The paper is the dance floor) és el resultat d’una reunió intensiva de dues setmanes de tretze artistes de diferents parts del món, interessats, cadascun des del seu lloc en les arts vives, l’edició, la impressió, la paraula i l’escriptura. El que aconseguim és una publicació on la lectura i l’escriptura activen accions performatives i l’acció de preparar una publicació es pensa com una coreografia.
Collective Lunch
Darrere els ulls, davant l’esquena (performative conference) with Alexandra Laudo [Heroínas de la Cultura] with the collaboration of Oscar Holloway
Darrere els ulls, davant l’esquena (Behind the Eyes, in Front of the Back) is a poetic lecture performance about facing the music and giving the cold shoulder, about bodyguards, eyes, the History of mirrors, selfies, the myth of Narcissus, the relation between taking photographs and hunting, and Snowflake.
TeknoDrag Collective: Is a collective formed by Lyn Diniz, Luciana Chieregati, Feña Celadon and Xavier Manubens. Our research practice focuses on the production of a dissident, critical and ever-changing drag performativity. Ours is the Drag Technology: a toolbox that unfolds through the experience of the Drag production. These are not control technologies but resistance technologies, which allow us to expand the practice of drag in a counter-hegemonical way.
Anabella Pareja Robinson: I come from Mexico but live in Barcelona since 2017. I approach my practices and researches by flowing between human and nonhuman knowledges, celebrating that we are Nature and trying to vibrate with the Cosmos. I develop and share them in the fields of performing arts and writing. From 2017 to 2020 I was part of the ARTAS collective (La Poderosa), which hosted me to develop my last piece La Forma. We started researching together, a research that I still carry out: Water my dances, water my thinking. The Basque artist Itxaso Corral Arrienta and I opened a research space called Hemos perdido el Cosmos through which we look for practices that help us develop minor skills to realign ourselves. Up to the present day the publications HECHIZO, LARVA and FÖSIL have appeared.
Alexandra Laudo [Heroínas de la Cultura]: I am a curator. I have been researching in the last years on the introduction of spoken word, performativity and narration in my own curatorial practice, through hybrid curation projects like lecture performances or curatorial approaches placed halfway between the literary essay, criticism and the curatorial practice itself. It is within the frame of that research that I have developed the following lecture performances: An Intellectual History of the Clock (first shown at Malongen-Nordiska Konstförbundet in Stockholm, as part of the CuratorLab programme, and performed at several European art centres and festivals), How to Observe a Nocturnal Sky (commissioned by the Collective art centre in Edinburgh, where it was also first shown, and which could be later seen in Barcelona, both at Centre d’Art Fabra i Coats, as part of Festival Loop, and at Teatre Lliure, as part of Katharsis); FOC (co-created with Tanit Plana and Moon Ribas and commissioned by MAC Mataró); and Behind the Eyes, in Front of the Back (first shown at Centre d’Art Maristany in Sant Cugat del Vallès).
Some other curation projects that I developed in the last years are: the exhibition She, the Eye, The Finger, the Hand (ADN Galeria, Barcelona, Gallery Weekend), Leaning Back on an Obliquus Sunbeam (p4stura.net, Art Nou), A Treaty on Coffee and Sleep. Instagram 24/7 (digital environments of the festival A Matter of Indigestions, Amsterdam), A Certain Darkness (CaixaFòrum), and The Possibility of an Island (Espai 13, Fundació Joan Miró). I have also produced the videoessays All the Dark Screens and No Way together with Albert Alcoz, and have been one of the curators of the podcast Quasi Veu (Catalan Art Centres Network).
Andrea Pellejero: In 2019 I graduate in Visual Theatre at Institut del Teatre, a bastion of feedom and experimentation within the institution. During our studies some colleagues converge into the founding of Las Huecas collective. Together we developed Project92’ (Antic Teatre) and Those Who Must Not Die (Festival TNT 2021). My Bachelor thesis was a first version of the performance that I am presenting now at Sâlmon< Festival, I Just Came to Take a Bath. On the same year I codirected Cartography of the Odd Body by Maria Jové (Sala Planeta). In 2020 I founded the group Monte Isla, presenting a first show, Where We Are Not at Espai Nyam Nyam. Monte Isla is currently a group-in-residence at the Festival TNT with the upcoming work Where the Forest Ends, the Village Begins; and I am working as an assistant director in the production José and the Dissenting Barcelona by LaLinea (Teatre Lliure). I am professionally interested in the periphery of arts and the most essentialist version of theatre: craft as an analogic fiction technique. One of my goals is to decentralize contemporary theatre and bring it outside of towns.
