I am an interdisciplinary artist focused on introspection and self-portrait with respect to social identity and gender roles. I like to combine different disciplines to create multiple readings. I take into account the political and narrative potential of my body, even when it is implicit in it, so that it can generate ideas for itself in a piece.
There are trees that are quiet people and people who are walking trees, I am that. Like the mythological Argo, in all my body there are eyes that look at the real and the unreal from different points. My performances are rooted in nature and observe the viewer.
My aims are to question how the performance art today might approach the subject of politics and to put the performance art at the forefront of the political struggle, challenging both boundaries between classical aesthetic performances and political ones, as an ability of political performance art to transform our societies by radical way. I fight for socialism with human face.
Performance allows me a fascinating game with time. It gives the feeling of capturing it and influencing the course of past events, modifying them, reversing, detaching them from their archetype, building new configurations and transferring them into real space. This multidimensionality gives me the feeling of functioning simultaneously in the past and present.
I’m not a singer, I’m not a dancer, I’m not an acrobat, so I write texts and texts that cannot exist alone call the body and the body that finds its place in the text or close, does what it can. They say then, that I do performative readings. I still do not know if the words are called to disappear, the body is eager to sing…
Clara Garí & Mar Serinyà
We are experimenting together with the boundaries and hinges of the senses; between looking and seeing, feeling and hearing, smelling and sniffing, taste, caress and touch, eat and feed. And more and more; between feeling and thinking, between feeling and meaning, between feeling and rejoicing, between feeling and liking. We are Mar and Clara, and we invite you to the table, at the Muga the Senses.
(England / Catalonia)
For many years I have photographed the performances of the artists who participate in the events I organize. I am an amateur photographer in the original sense of the word: as a person who loves what she does. What I like is to be able to capture the essence of the work in an image, helping something as ephemeral as the performance to last over time.
Text, voice, body. Breathing, architecture, repetition. Action, silence, space. Three coordinates to sew a territory: cartography. Touch the book, read the landscape. This voice is in you, this voice is in the loudspeaker. The margins, the seams, the mixed water. I can use the first person – long before we arrived, someone bound the landscape and arranged it in front of us; but I can also forget it.
I am interested in exploring a coexistence of different times and spaces in a unique situation of place. Use physical space not only as a support but as a material where the visual and the sound sculpt and pass through the intensity of the experience, of the body, of what emerges. In this way, my practice becomes a cross, a mixture, it allows me to work between the limit of categories, in the transit of formalizations.
Through my art I want to open spaces; entrances to your own inner landscape where vision and reality melt together.
My work is the tool. You experience something by looking at it and get an idea about what it is. This might be different from mine. Both are true as we both noticed it. What remains is a memory, an emotion, what leads us into the wide fields of not bound in all directions.
Singing is a way of probing me, of reaching the most recondite places of my body and my subconscious. I have composed pieces for solo voice, but the main part of my work is performance, based on free improvisation. My abstract song brings into play a process of prelogical communication, to reach the depths of the subconscious. I work butoh dance, looking for connections between voice and movement.
I have put my art at service of the prevailing concerns of our times; especially those issue that threatening our collective existence and the sustenance of our universe. Therefore, the contents of these concerns ranging from psychosocial and emotional effects of the traumatic events such as violence, especially terrorism, war, poverty, corruption, climate change, injustice and gross human right abuses, etc
Jesús García Plata
My job is to investigate concepts such as balance, tedious action and decontextualization of elements extracted from folklore. I am interested in the idea of chance, the possibility of unfinished action, interaction through the senses, humour and the absurd, the unpredictability of the time of the action in relation to a certain social framework, the presence and the traces…
JOINA is born of listening. From the courage to raise a voice that has things to say. With a new language, sincere, direct, the words speak to me and help me understand and continue projecting. Beyond the label feminist rap, what I do is music that talks about me and the process I’m doing, like so many other women, to understand and survive in a world that oppresses us and wants to make us invisible.
Making documentaries is making films. Can you think of anything better? They will tell you that the difference with fiction films lies in the fact of working, either with stories and people taken from real life, or with characters and plots invented by a screenwriter. And that is false. Everything is representation. Everything is manipulation. Everything is point of view. And this is the fun about it. Create a world that only exists in frames.
Marina Barsy Janer
(Puerto Rico, Catalonia)
Words without action are empty;
action without words is blind;
words and action outside the spirit of community are dead.
(Pueblo Nasa, Colombia)
I explore the soma-politics of the encounter providing new spaces for tension and negotiation to occur: human/animal, subject/object, communal/individual, life/death are some of the dichotomies that become blurred…
Natàlia Espinet i Vallès
From the silence I write with the body and then the words in the raw space to start over. I gather. Pause. I say the void that fills my ears. I dance the body that disfigures me. I change the look. The voice comes out of the body into the air, a very long precipice. Silence. Trick or clumsy. The body free the bodies’ perspective, between volume, density, light as part of the action, between now and become part of the action.
At first I experiment, explore and examine the media's performance, I play and sometimes
mock him. And in my performance projects I want to point to the eternal in the transitory
existence of people in the historical and spiritual in general terms. The desire to discover a
consequence of the economic impact on artistic creativity from traditional art works to new
Listen to the earth, the nature, the person sitting next to me in the train, the little boy who plays on the seashore, the gestures of my mother and the stirring of my grandmother’s spoon. To listen is for me the gift of life, it is the art itself, to which I only respond and I wait for it to respond to me, to be together.
I revive photographs; give new life to objects, people, animals and spaces taking photos of photos. Reality and the representation of reality is mixed.
I capture performances, happenings or installations where the people I have invited to the scene can interact.
I use the camera as an instrument to express myself, to learn to look and select well, to prolong or abbreviate time.
I work pieces of behaviour released: phonographs and poems set free; drawings as scores. My job is to reach people, communicate. It is also happening. Time and space collaborate with the entropic fact, in which the release of energy from certain states of non-equilibrium allow me that wonderful escape, that sort of science of liberation from the behaviour of the word.
My only certainty is that I build a limit. Each new performance shows me more its nature and makes me a little more aware of it. The little I know of that limit will be the starting point of the next performance. I remain in this process with the firm decision to get to know everything about him.
In my performance work I base myself on writing to express my ideas in the form of a tag on the walls, sidewalks and even on the bodies of people. I make a costume for each of my performances and makeup that goes with in order to stand out in town. My work as performing artist in the city has oriented me towards a social and human reflection of my performances where I am.
Perfect pairing: Marc Egea’s wheel viola, Jordi Rallo’s Indian table and the poetry of Salvador Giralt and the wise of the world around a few glasses of wine.
We will sing and recite impassioned verses, love stories, and jokes to laugh. We will tell you about the time that flee and the joy of living. A cosmos around a bottle: a cosmic scenario as an “imago mundi”.
I am confused about the differences between documents, work of art, and fiction. For me there are more significant factors, such as the relationship between photography and cinema. How they work together, but in a different way. Even contrary, there is cinema in photography and photography in the cinema. I like to look for certain limits, which are invisible and that only the camera and the resulting image can show.