Trànsits

Antonia Solano began her career in the circus world in Málaga, her hometown, and continued it in Barcelona. She is self-taught in the art of antipodism and the creator of La Querida Compañía. She is currently part of the Truca Circus Company.

The Decúbit project takes the word antipodism as its starting point, from which the idea of the opposite emerges as a driving force for research. It focuses on working with the trinka and how its use affects the body and the stage, exploring new relationships between technique, object, and stage perspective.

Ginés Belchi Gabarrón is a floor acrobat and, since the age of 15, has been in love with the body and its possibilities. He works with the language of acrodance, physical theatre, and experimental dance. He trained at the Centre de les Arts del Circ Rogelio Rivel and at Ésacto’Lido in Toulouse. He is co-founder of the company El lado oscuro de las flores and has taken part in various projects in Catalonia, such as the Combinat de Circ and the Circ d’Hivern at Ateneu Popular 9Barris. He has also worked with different companies in France.

He is currently developing the research project Con placer querida / Complacer qué herida, an exploration through the acrobatic body, physical theatre, and object manipulation —scissors—. Different fragilities, states, and ways of approaching the object raise questions about how the way we relate to ourselves can be more or less dangerous, and how this can affect us in different ways.

Linked to the performing arts for more than fifteen years, she has developed a multifaceted career as a stage creator, circus artist, set designer, costume designer, and performer. Her artistic practice brings together three main languages: circus, stage space design, and documentary theatre.

In the field of circus, she worked for five years at Berlin’s Volksbühne, directed by René Pollesch, in the production Kill Your Darlings!. In recent years she has collaborated with the documentary theatre company Mos Maiorum, taking part in the creation of Mos Maiorum, Gentry, Turba, and Solar, directing the latter, which was nominated for the 2024 Max Awards in the category of Breakthrough Authorship.

In parallel, she has designed the scenography for several productions on the national and international stage (Marta Pazos, Israel Solà, Jordi Oriol, Atresbandes, Common Ground, among others). She currently directs and co-coordinates the Master’s Degree in Stage Spaces and Art Direction at BAU, University Center of Arts and Design in Barcelona.

Körperbildung is a project born from the intersection of circus and documentary, and it starts from a central question: how does the passage of time affect circus artists? The proposal invites reflection on how this bodily heritage is built over the years and how the relationship with one’s own body evolves as time goes by.

To address these questions, two lines of research are developed. On the one hand, testimonial work; on the other, stage-based research with three aerial artists from different generations: Pili Serrat, Cèlia Marcé Oller, and Nicole Taranenko.

An intergenerational mosaic that brings past, present, and future into dialogue.

Circus artists Tona Punsola and Jordi Puigoriol, from La Bel·Bel Company, and dancer and choreographer Jordi Cortés, from Liant la Troca Company, come together to carry out the community-based stage creation project Boxa, Cells and Other Stories, which involves the participation of a group of twelve people from the Joia Foundation.

Through circus and dance, the project works with memories, recollections, and fragments: intimate and shared stories that appear, disappear, and are recomposed, like cells in constant transformation. A process of collective research in which the body becomes a living archive. Memory is the red thread that runs through the creation: what is inscribed in the body, what persists, what fragments and is rewritten. Boxa, Cells and Other Stories highlights collective creation as a space for encounter, listening, and expression.

Maria Solà (1981, Catalonia) creates disjunctive work to denounce the dysfunctions of the system. She is connected to the Catalan and Danish underground, producing festivals, performances, exhibitions, and publications in defense of counterculture. Regarding the performing arts, she is an interpreter and producer. She co-founded Las Feas (2002-2006) and The Brunette Bros (2008-2020). Since 2023, she has performed solo with Mama Calypso and Fets Reals. In the visual arts, she is a researcher and photographer. She carries out publications, exhibitions, and short films.

Her current project, Nacionalidad española: trampas, evidencias y fotos prohibidas, is a critique of police protocols, identity boundaries, the veracity of photography, and control systems. It is also an ode to drag and a testimony to the flexibility of gender expression. It is an evidence, a daring act, and a conquest. A cross-disciplinary research between visual and performative arts that she has carried out over more than two decades, marking her artistic identity specialized in clowning.

Victoria Sickness is a multidisciplinary artist whose career combines technique, creation, and scenic research. She trained in circus arts at the Centre de les Arts del Circ Rogelio Rivel and in Image and Sound Engineering. Since 2017, she has been the lead vocalist and tenor saxophonist of the band Las Marikarmen. In parallel, she leads her own company, Cia. Victoria Sickness, which is currently developing a scenic research project on the travesti body in circus.

Her artistic practice explores the limits of movement, gender, and queer expression, connecting disciplines and creating dialogues with audiences from an experimental and avant-garde perspective.

In the project Algunis no tenim l’opció de no posar el cos, the artist proposes a scenic research process that starts from a quote by Roberta Marrero: “Some people cannot afford the luxury of not putting their bodies on the line.” She explores how a travesti body inhabits risk, fragility, and humor through a combination of scenic languages that challenge hate-driven discourses. The process is complemented by archival research on travesti figures in the performing arts in Spain, generating an open dialogue with all audiences as well as with public space.