Trànsits

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.