jueves, 6 de junio de 2024


The unstable relational sphere and the tectonic scenes generate an emotional field, where I use words, drawings and everyday objects that are introduced into the time-image series, which form fragments in the vertebrae of the new FIELD. I have lived for years in my own gallery installation accompanied by the work of selected artists. I have  designed large-scale buildings and curated a hundred shows, exhibiting work in numerous international venues and galleries. PROPOSAL My choreographic scene was born in the city. It was born in the use of the city as an artifact. My relationship with the city, and with cities in general, is intense. I was trained as an architect and as an urban planner, I studied the city, I studied aesthetics and flows, and I have designed some buildings. Later, I dedicated myself to art, from the position of a curator and critic. I have lived in an art gallery for some years as a scenic proposal. When walking through the city, my body develops automatisms of acclimatization and belonging. In Mexico City in 2013 and in London in 2015 I began the series of urban positions in long video-performative drifts. The objective was photographic and filmic, and the body was barely exposed, but a methodology was generated that has led to choreographic situations in a ritualistic sense. For a few years, I have choreographed a dancer recurrently in the city and in the countryside, as an alter ego, and since 2022 I have naturally introduced my body in a choreographic series, assuming the role of the body. I wrote a thesis on relational art and I have directed a long series of conceptual art since 2009. As for my intentions in the residency en Carinthia, I think it is necessary to expand the battlefield. I would like to propose a collaborative piece called FUGA, where the pastures I propose can be cloned and thus bring them a perhaps novel format in its choreographic form, far from the classical canons, much more linked to body art, to installation and situational narratives, which need to be explored and exposed. I have of course studied dance and theater and I keep a record of the pieces I attend as a critic, which I would like to explore in further situations I present to you my latest piece, DOUBLE SIDED, which is my current conceptual synthesis, in which I include, in addition to my objects and movements, another choreographer with freedom of action, I double the stake and the scene. It seems pertinent to me to be with someone when working, to be exposed, as a form of subtle and precise direction.