Trànsits

Elles

A multidisciplinary show. A combination of circus, movement and live music searching for a language that will define them.

They investigate identity and gender, treating them from a fresh point of view. A stage concert of electronic music where two people walk the scene in a continuous ecstasy and bewilderment, questioning their identities and their way of relating to each other. Questioning her identity as women and the clichés they are associated with. What is a woman? What is a man? What are we if we are nothing?

Out of control, they step on glass, they mix music live, they play instruments face down at several meters high, they suspend each other by the hair, they throw darts, they explode apples, they eat them and form body structures impossible to decode.

Picture: Mar Bautista

Niebieski

Four people enter a blue room, as a plane about to take off. A space of emotional management which reveals its system, adapting and offering what is necessary to modify and move freely within those aspects that society calls unworthy and secret.

They will appropriate symbols of popular culture through playing with the everyday objects that the room provides. A circuit where painfulness and dirtiness mutate into a ritual of initiation of which they were deprived. To develop a way to relate to the emblems of patriarchal binarism will lead to a collective narrative. They will put empathy into practice, to navigate all the processes of turning empowering everything that once was inappropriate.

Pròxima Centauri

The scene is full of autumn leaves. A pendulum swings at ground level and removes the leaves with the air it generates. From here the staging plays between what is natural and simple and what is artificial and complex, through elements such as water, leaves, pendulum and a cyr wheel.

With the help of these elements, it explores the languages we use through science and art, seeking in creativity the common point between any scientific and artistic discipline. It takes as a reference the evolution of a star similar to the sun and is reflected in its vital phases from birth to death. Is science simply a way of understanding the art present in nature?

The piece is named after Proxima Centauri: the closest star to our solar system located about 4.2 light-years away and is part of a 3-star system, one of them very similar to our sun.

Polychromatic Void

For some time now I have been quite obsessed with ambient music and the generative systems that many sound landscapers use to reach new horizons and textures. After researching a lot about generative music, I decided to do the same with juggling, and look in the direction of a couple of subgenres that I currently call Ambient Juggling and Generative Juggling.

Ambient Juggling is an unpretentious juggling, it is an act that has as its engine the constant dissolution, it exists without having to stand out with respect to the environment. Generative juggling goes a step further, trying to understand the whole environment as a system that gives inputs and receives stimuli, and based on all these parameters it evolves towards unplanned places, but they can be bounded. Polychromatic Void is more aimed at “generative juggling”. Create a system between juggling, juggling, video, music, lighting, code and other elements, where everything is connected and in a constant dialogue.

‘Happy’

‘Happy’ is a manifesto. A rupture in the conception of life; the possibility for each person to de-construct his own way of existence. The style, the aesthetic of opposites who meet and converse. It is our naked, rebellious, innocent, spiritual, lucid, and above all human being. A hymn to freedom reconnecting with cruelty. We put our limits, accidents and despair at stake; we claim our dissident, deadly and vulnerable existence as a form of circus.

By accepting who we are in the present moment, the fear of death escapes us. In each situation: new possibilities of changes, reconfiguration and metamorphosis. When all the doors are open, when all the anchors drown and nothing holds us to the ground, we can finally dance without falling.

Picture: Carolina Castro

‘Trying to say what’

Specializing in rope and aerial silks, Gaia Panero is currently in the process of creating the piece ‘Trying to Say What’. The research she seeks to develop has started as a physical and technical research around the discipline of rope, transforming it into an investigation into the possible relationships between the rope, the artist’s body and the space that hosts them.

From this first research, the need has arisen to create a structure that is at the same time performance space and art installation, where circus art interacts with architecture. It will be a tensegrity structure, a name derived from the words “tension” and “integrity” and will be sustained by opposing forces.

LP (Long Play)

A visual and acoustical underworld hidden behind the mask of everyday life; an escape gate through which our dreams and fears pass. A millennial temple in which we can celebrate the error; open a gap of human fragility. Wires, software, high-heeled shoes and a beard. The bodies strain under tricks of light and sound, political speeches, cellphones and pop icons. On the eve of the apocalypse, Long Play is a cry of resistance that pays tribute to the generation of the new millennium.

Catalina Aguayo and Alejandro DutraWe create an authentic discourse, highlighting the fragility of bodies, driven by essential states. They nurture themselves from the circus but also from many other things: electronic music, Xavier Dolan’s movies, Vivienne Westwood’s costumes…