Trànsits

‘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.

‘Corcs’

THE INSECT

“nyii…nyiu!…nyiuuu…prufm… cris…nyuuuu!nyic…fius…tururitururitururi!!!”

That’s how this insect sounds. That’s how it thinks. That’s how it is. That’s how it moves. It faces something unknown, which at the same time is extremely familiar.

THE HUMAN

He watches it. The insect moves slowly towards him. He may feel as if he is trying to ignore it; or he may feel an uncontrollable rage.

THE INVISIBLE

No one sees him, but he is there. What role does he play? Maybe he gives rhythm to the world … Maybe he is the one who moves the threads …

CORCS is an encounter between worlds that coexist in parallel.

Vermut a Venus

Vermut a Venus’ is about the physical and intellectual need to socially connect and to network. It is an ode to this spirit, which inhabits both the body and the mind. It is a union, when everything seems to lead us to separation.

‘Vermut a Venus’ is the answer to the rules that have been imposed on us. It is the rewriting of the roles we have been assigned as people, women and workers. It is our most absurdly common and current reality; the ritual of the everyday that becomes sacred. “I meditate in the morning, I dance at night.”

‘Vermut a Venus’ is the discomfort of not knowing what is true and what is fictitious. Feeling confused, lost – reaching other realities that we had not imagined.

Animus Anima

Animus Anima talks about being molded and cohabited by a pairing of energies that can take different names: hot/cold, outside/inside, ying/yang, feminine/masculine. It talks about his relationship with society, with preconceptions, with standards of beauty and social pressures. Submissive to an evolution which pushes it to go backwards, this being lives a true freeing in front of the public, making a comeback to the primitive.

An autobiographical research conceived as a cheerful provocation, to build complicity with the audience through humor. Through the pole, a place where everything merges and acquires a sense. And through the Disco Dance, discipline that embodies speed and exhibition in front of a jury, represented here by the audience itself. All this will be in order to show to what extent the judgments and the social pressures lead this being to transform, embellish and camouflage obsessively its body, until falling into a grotesque aesthetic.

Foto: Alian Richard

‘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.