Trànsits

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

Alexandre Duran Davins (1997, Mataró). Trained in theater, physical theater, Stanislavski and dance theater. Trained at the Rogelio Rivel, Ecole du Cirque de Lyon and ESAC circus schools. And integral part of The Chosen Haram performance, winner of various awards at the FRINGE Festival in Edinburgh.

Pep Duran (1942, Agentona). Gestalt therapist, trained in psychomagic (Alejandro Jodorowsky). Specialized educator, member of amateur theater groups. Honorary member of AEDA (Association of Oral Narrative Professionals in Spain).

Professor at the Ateneu Barcelonès writing school. Honorary member of the Consell Català del llibre infantil i juvenil (CCLIJ).

Oral narrator since 1976. As a bookseller, he’s a member of the Chamber of Books, Booksellers’ Guild and CEGAL.
Part of TVE’s PLANETA IMAGINARI (1984-1988) children’s TV show.

‘Com matar el pare’

Two lives, two eras, two beings.

A son and a father, a circus artist and a storyteller, one young and one old.

They dive into stories with which they grew up, memories of what they lived, losses they’ve suffered.

Using the word and movement, father and son explore their relationship, their fears and illusions, life and death.
Killing the father is an expression from the Freudian field, which refers to, leaving aside the sexual allusions, the need felt by sons to assert themselves in their convictions. They’re aiming at an autonomous life, faced with the unavoidable fact that an important part of their life will unfold without the protection and guidance once given by the fatherly figure.

Stemming from this human necessity, we’re exploring the individual’s dependency and independency, empathy and rejection.

The shadow of senile dementia and death are present in this creation as a piercing and inevitable reality.

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.

Soa Payet, stage author, works with memory, the one that will be and the one that will become following our present actions. It’s about rediscovering the stories that arise from the circus imaginary, in a more extensive sense, where dance, text and circus object mix.

He grew up between the Paris region, the island of Reunión, Columbia and finally Ecuador. He trained as a circus artist at the Amiens, Montpellier, Brussels and Toulouse circus schools.
He was a dance, clown, Butoh and theater apprentice. All these fields led him to focus his work on his own roots, to understand that which traverses generations and demands listening to.

Zoé Debary, in theater, carried out an academic research on circus gestures and words. From her trapeze-dance, she came down to the stage floor to take a step into the choreography of bodies through GAGA (GAGA MOUVEMENT) dance and the actor’s opening thanks to the Chekov training, in Brussels. Following her experience, she accompanies circus artists in their creations, «Circus remix» from Tercer Circ (2017-2018), «No puc morir» from Cie La Gesti (2019-2020), «PAPY» from Lucha Emilia (2020-2022).

Her research resonates in her works and her works resonate in her research. How do we embody (drama)circuses?

La memòria de la Pepa

Our project came to life between the mountains of Medellín and the heights of Reunión. We’re looking to formulate our internal screams. Screams of uprooting, screams hidden in crammed throats, silent screams that are heard from the bottom of the earth, screams of our ancestors and descendants.

“La memòria de la Pepa” is a circus story, the story of Pipo, a globetrotter. Remember, remember, make it materialize, bring it to light, the terrific spirit of the colonial plunderer and the depth of the jungle. Juggling with his “toquilla” straw hats, his candles, his dangling fabrics, he structures the space and his time. Pipo transforms and creates his own rituals, he dances his loss, with love.

We don’t choose to represent any culture in particular. We choose to invent a story inspired by the memory of our elders and its role in today’s questions which demands new formulations. We gather in the history of our memories to find fragments of what has been lost and what has to be reinvented.

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.

Born May 2^nd 1998 in Badajoz, Extremadura region of Spain, where there are many oak trees. He was less than two years old when he was dancing to Sonia y Selena in the living room of his house, imitating each choreography from his sister’s graduation VHS tape. When he was eight years old, he wrote a poem to Virgin Mary and the rest is history.

He did his professional training at Carampa, between 20016 and 2018, and during the next course he became a part of various Freestanding Courses at DOCH, School of Dance and Circus (Stockholm), of different specialties of his discipline, hand balance acts and a course on the artistic development within circus disciplines.

In June 2019 he takes the tests and is admitted at the Brussels Higher School for Circus Arts, and three years later he graduates, and has longer hair, and he likes rain less, and he likes coffee more, and writing more, and the circus more, I suppose. He also receives his Master’s degree in Poetry from the Madrid Writer’s School and is part of the Simul Solus Collective. El patio is his first solo project as a creator/artist.

El patio

‘El patio’ is an interdisciplinary research project that plays the part of experimenting with intimacy, desire and the power of language through the stage fusion of poetry and circus, using acro-dance, hand balance acts, live writing, sound works and voice as means and channels to express.

There’s a factual meeting point between the two disciplines, from which the skeleton of the project is born: the way in which they use pure technique as a creativity channel and form as the final object. Building a space within a space, “El patio” plays with the limits between the truly intimate and the completely public, as when you try to disclose or share something intimate, its very intimate quality vanishes and it acquires a new dimension for a few seconds.

“Intimacy is a fish flopping between two oily hands and I’m losing oil, a lot of oil”.

After studying at the FLIC circus school in Turin, Italy, Andrea Speranza continued his juggling studies at the circus school in Lyon. After, he became interested in studying magic in all its forms and developed his potential as an illusionist.

He takes part, as an artist, in creations like Censura, directed by J.M. Guy, Roberto Magro and Johnny Torres in 2019, or Impromptu, from the Catalan company Circ Teatre Modern, in 2014.

Worked as creative support and illusion effects adviser with La Frontera company and for Alice Rende’s Passages performance. He also works for various businesses as a special effects consultant. In 2021 and 2022 he was part of the Support Group for the Horizons de Cirque cross-border project, and also participated in the third module of the European project Digital Lead held in Terrassa, Catalonia, and in the Antípodes cross-border project, a La Grainerie de Toulouse (France) and Pistacatro (Spain) joint venture.

Currently, he’s attending the Project Training courses at ÉSACTO Lido, in Toulouse.

Cose a caso – trucos asì o cosas detràs

‘Cose a caso’ is a creation project of physical experiments and close-up magic for intimate spaces.
‘Cose a caso’ is a solo who doesn’t pretend to talk about solitude, but who on the contrary tries to weave relationships with the audience and between the audience itself.

Experiments and illusions presented here are only a means to create relationships and connections.
It is a solo who does not want to be such and who tries to establish an active conviviality of other times between the illusionist and the audience.

Starting in a joyful and conversational way, the atmosphere transforms to veer towards different aesthetics. Manipulation of ephemeral materials, such as ashes, shadows, mirrors and light.
The magician plays with images to perform illusions: reality or realities? Magic comes out from the ensemble, it’s not the power of the magician.

Asking over the frontiers of not knowing when and how a trick starts or ends, if there’s a mistake or if magic was made from an actual and volunteering decision. Is this an illusion?

Firma foto: Thomas M.B.

Born in Reus, he trained at the Rogelio Rivel circus school in Barcelona (2010-2012), the Pekin International Art School and ÉSACTO Lido in Toulouse (2014-2016)

He specialized in hand balance acts, torsion, dance and theater. Co-creator of the Random company. CircusNext 2019 prize winner.

He performed in different European locations, at the Circ d’Hivern de l’Ateneu Popular 9Barris and Mercat dels Flors (Barcelona), the Theatre de la Cité International (Paris), CircoBalkana (Croatia), La Grainerie (Toulouse), Halles de Scharbeck (Brussels), Mesopotàmia Circus (a festival in Türkiye). He danced with artists from Krump, Butoh, African dance, raves and elite level Bachata.

‘Candy’

“I encountered certain difficulties when going back to regain possession of myself. It’s a strange experience. Perceiving the legs as separate objects, estranged from the mind, to which they’re connected almost by chance. Imagine yourself with skepticism, as a pile of flailing members… and one needs these members, needs them desperately, but even so, sometimes, they seem very strange, very strange. The legs, above all.”

Felipe Nardiello

His artistic path begins with the separation from the world of psychology (the profession he was dedicated to) and opening up to the circus. He studied at the FLIC circus school in Italy, where he specialized in Cyr wheel.

Ginés Belchí Gabarrón

He begins his professional studies at the Rogelio Rivel circus school in Barcelona, following which, he studies at the ÉSACTO Lido, in Toulouse, where he specializes in acro-dance.

At the end of his studies, he creates and acts in the El costat fosc de les flors performance, takes part in the Circ d’Hivern SOPA de l’Ateneu Popular de Nou Barris and in the latest creation of the Primavez (France) collective –Intudewail.

Que me tiren al mar

‘Que me tiren al mar’ infiltrates an intimate, relational dimension, in an emotional space. It’s a voyage trying to connect with the general theme of problems, through physical emotion.

Quin és el teu problema?

It’s a physical story talking about being human from a problematic capacity, a fragility capacity, a capacity to question how the modern subject relates to its own life.

Quina és la teva solució?

In an abstract philosophical universe, the bodies and the Cyr wheel articulate the discourse. Their words are built for the acrobatic movement of two bodies, the emotional relation between these two and a Cyr wheel, which urges cyclical and circular situations, which can become either problems or solutions.

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.