Trànsits

Cata Aguayo is a multidisciplinary stage artist, researcher and teacher, born in Uruguay. Diploma in circus arts at the University of San Martín, Buenos Aires, and at the higher school of circus arts in Toulouse, ESACTO – Lido. She studies various techniques of contemporary dance and improvisation, specializing in Asymmetrical
Motion, with Lucas Condró. He also studied vocal technique and singing.

In 2018, she created with Alejandro Dutra, the company Olga – Cirqanalogique, finalist at Circusnext 2020-21, winner of the Cross-border Cooperation Fund Travessia Pyrénnés de Cirque and awarded by the Toulouse City Council and the Department of Haute-Garonne. Currently, they are creating their second show. She has been an interpreter for the French companies L’Éolienne and La Grue, choreographer of La June Compagnie and external gaze of several emerging companies. Since 2018 he has been directing the Annual Air Research Laboratory, of La Bonita cooperative.

Pandora

Pandora investigates the gap that exists between the place we are socially attributed to and what we choose to occupy. This margin between what is inherited and what is built. It is born of a desire for reconciliation with one’s own uniqueness, where the personal rebel to thunder universal and political.

Foto: Sofia Chopitea

The impetus for this search is a “conatus”: A powerful movement and an appetite which belong to my path-my artistic and personal path. but overall, they belong to my body, and are born from it.

The norm. The norm-alisation. norm-ality. The rule. The rules. The blood. The sacrifice. The holiness. The perfection. The sublime. The terror. The power. The norm. Cyclic. I want to know my body outside of the norms. The techniques. Outside of what is norm-al: norm-al in the way it moves, presents itself, uses itself, stops using itself, speaks, in the circus, in the theatre, in dance, as an image, as an icon, in this political territory which is my body.

I need to investigate the norms which live in me, so that later I might break them. I need a space of solitude, to recognize the formalities and surpass them. I need to identify the imprints which the power systems left in my body, so that I can revolutionise them. I need to know coercion, so that I might give myself to a fertile insurrection.

Josefina Colli was born in Badia Blanca, the province of Buenos Aires, Argentina, in 1990. Influenced by a family of plastic artists, she decides to study visual arts teaching in the city, but at the same time she discovers the circus, exploring different disciplines until she encounters the Cyr wheel.

In Badia Blanca, she establishes the “L’enlairament” company, which will receive the support of the Fons Municipal d’Arts on various occasions, including for the “Entre nos” Cyr wheel production, in 2018.

Self-taught for years, she decides to grow artistically and travels to Europe where she attends the courses of the FLIC circus school in Turin, Italy. She continues her training and, seeking to expand her corporeal expression, she attends the Area Dansa Barcelona contemporary dance school, in Barcelona, where she now resides.

Following learning, research and development of both disciplines, she asks herself: How to create and develop a personal language where both disciplines can cohabit and articulate without evolving into a hierarchy?

Poética salvaje

“Poética salvaje” questions and investigates the relationship that exists, and still doesn’t, between the motion delivered through dance and the Cyr wheel, analyzing each of them separately, in order to bring them to the question-action: how can they be interwoven to find the retronourishing instant, flux and coexistence of both techniques, leaving aside the hierarchization and betting on democratization?

A constant dialogue stemming from a visceral place that has its origins in unanswered questions, poetic writings and antonyms, which could deserve organizing or not, but maintain the body-object in constant feedback, creating a free place without massacres where the body-object presents itself as a guarantee of the most concrete, of a movement truth.

A research work that receives its inspiration and nourishes from different dance writers and philosophers, as well as circus-dancers who talk about the body, the game and instant composition.

From a young age she’s been interested in stage arts, exploring dance and theater, to later discover the circus through the Center for Aerial Arts, in Santiago de Chile. Once she decided to make the circus her professional life, she trains at FLIC Scuola di Circ (2015-2017) and L’ecole de Cirque in Lyon (2018-2020), specializing in hand to hand.

She became part of the Michele & Francisca company, being co-author of the SIGNES performance, which toured in different formats between 2020 and 2022.

Currently she’s part of the COLLETTIVO COLLETTIVOM, with the Mariage performance (premieres in 2024), and the Q||MƎRA COLLECTIVE within REQUIEM -research for a non-organic performance.

Interested in music as a self-taught artist, she conducts audio research and musical creation using voice and a loop station. Also, she is part of the semi-professional, feminist choir “L’ebranleuse”.

La primera y la última

Made it to the end and now I’m at the beginning again.

“La primera y la última” is a thrilling, agitated and impatient creative process designed to give way to a mutant and transformative artistic experience.

Driven by the desire to rediscover myself on stage as a legitimate and artistically expressive body, I welcome this creation within the “essential research” program, a time to lose myself inside a space for experimenting and tearing.

Breaking down and rebuilding the languages I had previously used, to dive into a liquid and unstable means of expression where delimitations between each language are blurred.

Music, voice, movement, margins, political body, dizzy, new imaginary: a part of the threads that will interweave during the search.

Could be that all this is a good description of what I’m trying to do, considering that possibly, it will be the complete opposite.

‘Soul of sound’

Imagination, as the etymology of the word indicates, is often based on image via sense of sight. The mental projections we make from memory are necessarily supported by images. But from sound we can also create new imaginary spaces. Can thinking through sound lead us to other realities? How can body and sound interact to search for them?

In this inquiry, the artist aims to find improvisational tools based on sound as a stimulus and to expand the possibilities of this interaction between sound, body, thought and emotion through technology. Around this concept, he will build guidelines that will serve as the starting point for a new creation revolving around the duality of breath and the networks of our lives.

‘Epidermis’

Where will you end up? Is there only one last cell separating you and the dizzying precipice outside? If someone is in a museum looking at a painting, is that person the witness? Or is the witness inside the painting? Can reason only set things right in times of calm – or can it also do so during a crisis? 

The height of crisis is the point where impulsivity brings us to the most absurd atrocities as forms of resolution: shooting, running, poisoning, humiliation; letting go of the leash; hitting, dying, living. But what is really more absurd: a calm world or one in crisis?

‘Epidermis’ is an attempt at personal research; to escape the void by entering the void – an attempt to stop writing so pedantically, to fuse the subject with the object, to survive this absurdity through the absurd – and attempting to accept the crisis.

Boredom.

I see it, it’s there by my side,

Sitting on the same sofa as me.

He stands there, quiet and calm with a cup of tea, says nothing, but looks at me.

I love him, and he loves me too.

We love us.

Now Time has come too.

He is very clear about it.

We are a super trio.