Trànsits

Hfjmsldfjk

The story of a person projected in an unknown place. She is alone. Little by little, she will discover and find her place. Dressed in an XL jumpsuit and a hat, is she really a woman?

Crossing Lines

Balancing on ropes or wires has always had a very symbolic power but accessible to everyone. These artists use their skills as a method of connecting with the world.

Inmunda

A wax heating machine, a swivel chair; a person waiting for herself. The intimacy of thought in front of the bathroom mirror. The dialogue that exists between what we expose about ourselves and the space where we allow ourselves to see, feel, hear.

D’Amore e di Peperoni

A journey into mind and memory, where lust and ecstasy surface, rotting in pain and anger. Through attraction-repulsion the criminality of romantic love becomes evident.

Craier

A visualization of the stages of life, without a story, without a reason. A work created to attract the attention of the spectator, always waiting for what is to come, surrounded by the sound of footsteps.

Ex-libris

Moments of unnoticed happiness: small things or moments of daily life that make us happy, that make us get out of the routine and bring us a ray of light.

Artist collective with the aim of exceed the borders that limit us. His work transcends a level of life positioning of fraternity in front of a world that drives people towards individualism.

Sweet drama

Life is a SWEET DRAMA! It’s caothic and full of imperfections just like us. Get the peace among this chaos…this is the light. And the light only exists if there is darkness.

THE END IS NIGH!

12 different universes coexist in the same apocalyptic space-time. Its approach, besides being artistic, is human and circus apparatus are understood as a wealth, rather than a restriction.

Mitone

Let’s make an experience together. Mitone, up or down. Leon or Leo. Not one, not the other. A balance between two worlds. The master moment: the jump.

Arrels

The ARRELS project is born out of the need for dialogue between the way of inhabiting the trapeze and the way of observing it through cinematic optics. It seeks how the gesture nourishes the image and how this entails an expansion of  its possibilities.

PSM (Collectif Portes Sur Monocycle) is an international collaboration between four companies dedicated to unicycle portés. The artists Catarina Vilas Boas, Jean Pomart Lorenzo, Paula, Álvaro Caballer Revenga, Sara Gilsanz Grandas and Aleix Lidon Baulida participate. In their current creation process they seek to reinvent the discipline of unicycle portés through a choreographic tribute to the universe.

Humaniquin

A journey through a science-fiction fantasy-world. A visual universe of physical prowess and fantascience, with plastic images resulting from the body-object symbiosis: latex hands, three legs for walking and masked and undaunted characters.

Humaniquin is a medium-lenght show inspired by science fiction, which seeks to recreate the vertigo of the best fantascience stories by means of the fusion of physical theater, circus, dance and live music techniques.

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.

Formada el 2014 a Montevideo (Uruguai), la companyia Plataforma CLO promou la creació, recerca i circulació del circ expandit. El projecte és una creació de Noel Rosas (Uruguai) amb la col·laboració de Maria Carolina Oliveira (Brasil).

La seva proposta artística combina circ, performance i dansa. Fomenta la producció i distribució d’arts vives, teixint xarxes de col·laboració entre diverses artistes, col·lectius, organitzacions i institucions en l’àmbit nacional i internacional. Actualment, organitza la residència Poéticas en Encuentro, a Canelones, i el Ciclo Interseccional Circense. Les creacions i coproduccions han circulat i participat en diverses sales, programes de residència i festivals a Uruguai, Mèxic, Brasil, Perú, Argentina i Tenerife.

En l’actualitat treballa en el projecte “De la memoria a la fuerza centrífuga, rutas obsesionadas con la telepatía”, que vol aprofundir en la investigació del circ expandit, a través de pràctiques de circ i de performance. Una exploració en codi de conferència circense – performativa, influenciada per pensadors/es de ciència-ficció, poètiques interseccionals i humorístiques. Reflexiona sobre les narratives antropocèntriques, especialment en el circ. Practiquen i reflexionen amb/des de/ al sud global.

Foto: Proyecto Mestizar (2021) Plataforma Clo, Uruguai / Autor: Reinaldo Altamirano

Fisicoquímico Circo és la companyia d’Ailén Leiva Reyes (Argentina).

L’artista entrena i investiga la disciplina de trapezi des de l’any 2008. Es forma a la Escuela de Teatro Callejero i a la Escuela Integral de Circo de la EMAU (Escuela Municipal de Artes Urbanas) y Dirección de actores en la Escuela Provincial de Teatro y Títeres (Rosario). Des del 2015 treballa en espectacles de carrer fent solos i amb diferents companyies, i participa en diverses peces de trapezi, humor i com a presentadorx, recorrent i coneixent espais de circ d’Argentina i els seus països limítrofs.

Està en procés de creació de la peça “Febril”. Una persona humana en recerca creativa. Un laberint de preguntes, intents, ensomnis, records, salts, vols i caigudes.

El raciocini esclatat: seny i demència, il·lusió i realitat, difuminen la seva línia fronterera.

Mentrestant soroll, aquella cerca d’inspiració es converteix en el camí cap a retrobar-se amb la seva essència: serà llavors quan aconsegueixi trobar l’autèntica obra mestra.

After 12 years of circus in Finland where she was burned, Viivi came to France in 2009 to go to Centro Nacional de los Artes de Circo in Chalon en Champagne. From there, Viivi were involved in a lot of project with her circus agres : the rope. She co-created two shows Metsa – the forest project with Sade Kamppila and the duo Dans ton cirque with Fragan Gehlker and Ana Tauber. She’s now creating her first solo with a mini rope called « V ».

Delving into Viivi’s innerself, V is a performance in which the artist reveals her personal mythology. Her relationship with the rope is the subject matter of the show. In V, Viivi has chosen to shorten it thereby opening a new range of possibilities by instilling a greater void and a different apprehension of the ground. Infused with the pleasure of her first solo performance, she embarks the audience on a journey to her inner depths reminding us of our multiple selves.

ROOM 100 has been established by Antonia Kuzmanić and Jakov Labrović in 2010. Their first performance “C8H11NO2” earned them a title of “Jeunes Talents Cirque Europe 2009-2010” laureate and critics of being an “exceptional example of an intelligent, accurate, deliberate and intensive work”. SInce then, they performed in USA, France, Belgium, Netherlands, Denmark, Finland, Spain, Switzerland, Italy, Lithuania and Croatia and produced “split”, “Seed” and “BLINK” performances.

Beside performing and producing contemporary circus performances, ROOM 100 is undergoing different projects of strengthening contemporary circus scene in Croatia and introducing contemporary circus arts, its history and importance to wider audience. Main activity is running HALA 100 – residency place for contemporary circus arts (first of its kind in Croatia and ex Yugoslavia) – and hosting international circus artists for creation, performances and workshops.

C8H11NO2 (2.0)

C8H11NO2 (2.0) is a new derivation of ROOM 100‘s original work that premiered back in 2011 in Academie Fratellini after being awarded as laureate of Jeunes Talents Cirque Europe program (now circusnext). Within “The Sphere” project, a research-creation project developing new ecologies of funding for the performing arts, ROOM 100 has been given an opportunity to bring back to life a performance that was last time presented in 2015. C8H11NO2 (2.0) is going to be another engaged performance aiming to deepen our understanding of neurodiversity and to raise the awareness and sensibility of the public about its different dimensions and complexities. We have envisioned a starkly physical creation – a mixture of contortion, dislocation, acrobatics, butoh and break dance – with a strong visual component, that will, hopefully, once again, cross the boundaries of performing arts…

Circus artist (Rogelio Rivel Circus School – 2016) and social teacher (University of Barcelona – 2013) by training, and by untraining, all the rest: investigator of the performative action and movement, driving force behind pedagogic projects with art as a transversal pivot, trainer, creator and highly interested in interdisciplinarity.

She studies with professors like: Mal Pelo, Hamza Benlabied, Andrés Corchero, Alexander Gavrilov and Semolina Tomic, amongst others.  In 2016 she cofounds the Cia. Capes (CAT) company, a hand-to-hand duo. In 2018 she becomes a co-founder and artist of the Ino Kollektiv (FR) female hand-to-hand collective, with which she currently works. Together with this collective, she forms part of a new circus, song and psychology project: Ekco (MX-IT-FR-ES) and another spontaneous circus and improv project about acrobalance: Improportes (FR-ES), together with another company: Kolektivo Konika. In 2022 she commences the personal research for the Cavitat f project.

Cavitat f.

Each body is a synthesis of his own history. Memory can be explicit when we can reasonably explain or describe a concrete experience, or implicit when the body reacts to experiences that cannot be processed by the mind. “Cavitat f.” is an artistic project that investigates the materialization of memory in the body, or in other words; embodied memories: everything that is recorded on the body as a movement, gesture, sound or posture in memory (mostly unconscious) of a concrete experience. The idea is to facilitate a work that puts the body in relation to the codification of these memories, to understand the forms and their learning processes, to see which ones and why they have been forgotten and if it is necessary to make them visible and perhaps resignify them. The project wants to observe how the context affects all this and also the relationship between two or more bodies and think how to generate collective body memories.

Picture: Helena Roig Prat

Aurora Caja (Palma de Mallorca) studies plastic arts at the Escola Massana in Barcelona and beaux-arts at the University of Barcelona. She continues her training at the FLIC Scuola di Circo in Turin, Italy. There she specializes in the discipline of verticals. Her first project is called En Perill d’Extinció (2016).

She also takes part in creative labs with professionals like Tomic, Jean Michael Guy and Volmir Cordeiro, Roberto Magro, Marta Torrents, Eva Ordoñez, Cristian Coumin and Pau Portabella.

In 2018 she starts the development of her first show, No verbal. In October 2021 she takes part in the FOCON training at the ÉSACTO Lido (École Supérieure des Arts du Cirque Toulouse-Occitanie, FR). In 2022 she presents No verbal in the form of a tour at the Picasso Museum in Barcelona, as part of the Creació i Museus device and within the Grec Festival schedule, in Barcelona. The show is produced by La Central del Circ and the Picasso Museum.

At the same time, she continues to work as a visual artist, in collaboration with Cia. Eia, Joan Català, and also independently. In 2022 she creates the exhibition Out of the Box.

No verbal

“No verbal” transcends into an intimate dimension; into a placenta, into a mental space. It’s a discovery trip which reveals itself the same way light penetrates darkness.

It’s a physical story that talks about being human from her most carnally honest perspective. A struggle to find her own voice in a world overwhelmed by noise. A rebellion.

In a plastic universe, the body defines the narrative. Its language is made of balance, acrobatic motion, contortion and drawing.

Photographer: Gaby Merz

Cia. Bragacadavra is composed of Lola Carandell and Amalia Hidalgo. The two artists meet in 2020 while attending higher training at Escola de Circ Rogelio Rivel. After a few months of testing the waters, they realize they are part of a similar creative universe and so, they decide to start working together and stage the result. Thus, in January 2021, they set up their first act -on which they continue working- where they combine acrodance, the absurd and physical theater into a stage code.

Mid 2022 they decide to embark on a journey to create a 45 minutes performance, “Caída libre para personas con vertigo”.

‘Caída libre para personas con vértigo’

– I was leaving.
Each step I take is closer to the inevitable fall. Are you falling? I see you a bit unbalanced.

I fall, weight, I precipitate towards reaching an objective that keeps moving away with each step I take. Infinite precipitation.
But if I fall and you support me, I’m stable. I’m balanced. Paused fall, weight break. Shared weight helps stopping. Counterweight. The counterweight are two falls interrupting each other. Or an infinite fall.
How many ways to fall are there? How many ways to arrive are there? How many different roads can I walk to arrive at the same spot?
I put myself at the journey’s obstacles’ disposal. The beginning of the end.
With this process we analyze the subject of falling. Physically, as well as psychologically. Through a game of clown characters, we’re transiting different stages which, together with the main premise of falling, take us through daily and absurd conflicts. Conflicts where contradiction is the constant. We’re contradicting the body and the word. We play with extremes, opposites, repetitions, loops.
– I was leaving, right?

Of Chilean and Croatian nationality artist. Born in 1996 in Chile. Begins her professional training at the Circus of Arts circus and dance school, in Argentina. After, she trains at the FLIC Scuola di Circ circus school in Italy (2015-2017) and at the ACAPA, Academy of Circus and Performance Arts from Netherlands. Currently, she resides in Barcelona and attends the experimental theater training courses at the Laboratori Escola.

She works as a performer at the Theater Tol company’s Jardin de los ángeles show, at the Santiago a Mil Festival and at the Leyendas, a Circ Patagònia company’s show, in Chile. She also takes part as a performer at the Mirabilia and La isola che non che en un Festivals, a collective directed by Francesco Sgro in Italy.

Creator and performer of the Esvair act, at Nunart Guinardó, Amalgama Festival, Utopia Festival and Escena Circ Festival. She’s an aerial rope and fabric teacher at the Trackdance Dance School, Piccolo Circus, Casa Buf Cultural Center, La Figuera Cultural Center and Espai 7siete in Chile and Spain.

‘Flores a un pedazo roto’

‘Flores a pedazo roto’ is a solo act that involves circus, voice and body to talk to us about frailty and solitude. Everything takes place in a bedroom full of clothes and objects that take us to an infantile universe. Throughout the act, the room gradually deforms in order to make us feel places where the mind can take an intimate trip: memories, desires, nightmares.

It invites us to value and appease vulnerability, to embrace it, remembering childhood, defending that which is corny, frailty and sensitivity from a very feminine point of view.

“Quede tan sola, al fin, tan sola,
que pude llorar por toda la casa,
mi mundo era solo deshacerse,
deshacerme con suavidad,
como una caricia,
por fin me quede sola,
no tuve que explicarle a nadie.

La niña que sigue viva me toca la puerta,
no me molestes ahora que soy otra,
que tu ya te has ido.
hoy nadie me va preguntar,
hoy no voy a abrir la puerta,
quizás este día me siento menos sola que nunca.”

It was at the Crescer e Viver circus school, in 2011, where Cássia and Rodrigo met for the first time. During training, Cássia continued her drama studies and Rodrigo began a technical course on contemporary dance. Together with 10 other students, they form Cia Circo no Ato, with which they produce 4 performances in 5 years, they specialize in acrobatic poses, travel all over Brazil and become a reference in the Rio de Janeiro circus. In 2017 they take their most recent performance, A Salto Alto directed by Roberto Magro, on a European tour, passing through Spain, Italy, Portugal and Belgium. During this time, they decide to expand their stage research as a duo and they begin a new training at the Lido Circus School, in Toulouse.

Once they completed this training, they commenced a small, 15 minutes, project called Despir, joining UBA, the new creation from Bordeaux’s Smart Cie, which premiered on July 9^th 2022. At the end of 2021 they begin imagining their first long performance: Rupestre.

‘Rupestre’

‘Rupestre’ is a poetical and corporeal license to merge past, present and future created as a surreal escape to the prehistoric origin of humanity. The intention is to reconstruct, expand and synthesize symbols, images, tools and movements capable of provoking a reflection contained in gender equality and the preservation of nature.

Music plays a main role in this show. The instruments will be played on stage with the help of a loop pedal. The plot develops from percussion, the first sound impulse of primitive man: through the clash between objects, the noises are transformed into sound, then into rhythm, melody, dance and a circus show.

‘Rupestre’ immerses itself in a trance as a language of memory, with the body conceived as the guardian of ancestry and our greatest tool to access the past and co-create a more equal and diverse future.

Firma foto: Benoit Martrenchar