The carving of the idea includes the word. A paragraph is a great bonus for each piece. The definition of the work itself is very close to the idea of ​​the critic. Regarding the criticisms of the works of others, which have occurred for a decade, they always vary in length and form depending on the type of scene and its materiality.

Sound, performance or object art are narrated in a different way. Lately my criticism has focused on relational processes, moving to different settings, mainly in theater and dance. As a relational artist and curator, I like to be a part of the scene by writing about all the works that I attend. My multidisciplinary training (architect, sculptor, filmmaker) gives me a unique approach and perspective in the use of language, giving a different flavor to criticism. Both to the scenery and to the drama. Having a critic around is having an extension of your artwork. We all know that audiences need critics to engage in another layer, and artists need feedback from those who follow and respect the field. I would love to write about the new dance series this year. Write and give some light. The final idea is to introduce the texts in spaces about art and humanities, such as sociology and anthropology. All together. Madrid's dance scene is stable, not too big and has a cyclical calendar. The scene has different layers and sizes. Some pieces are more classical dance, where the choreography and sets are part of a more conservative style. There are certain theaters that regularly schedule dance performances. Of course, dance is fused with theater and music. Many of the pieces are called dance-theater, since the artists fuse dance with mime, butoh, circus, puppets, video art, etc. Dance comes every year in a festival called Madrid en Danza, around July. There is also an annual competition for new choreographies, which gives residencies and prizes. There is also the annual fall festival that brings together the most visible companies in Europe to perform for a wider audience. The residencies for creators are open at Teatros del Canal, a public institution that promotes Dance. NARRATIVE The room is not overflowing, but there is atmosphere, the first row is a reality bonus. In a nearly empty stage, two aliens worship a plastic Christmas tree. There are luminous balls. It melts to black and they enter the room. He is wearing a baggy shirt and she is wearing a white dress. Both serene. He scatters grain on the ground, throws it handfuls. She comes out and dances like a chicken, her arms pointed and her neck swaying. He scatters the grain. He rearranges the grain with the broom and gives a humanoid figure to the pile. Every move is game sparate. They use a box as shelter. They live there. After a dance and some joy, the drama begins. He chases her with her ax until she hides under the board and he drives her ax there, on her roof. She is terrified and he rejoices. He strips naked and starts burning her. He shakes, vibrates and shudders. Alienation and pleasure merge. The lights are off. It's another day The aliens return, order the stage, and build their ship out of the wreckage, waving as they take off. A new Space Odyssey.