Friday, June 28, 2024

Dos mujeres jóvenes, vestidas con chándales, ofrecen un espectáculo sin elementos adicionales como micrófonos, luces, o músicos acompañantes. El enfoque está en la pureza del arte flamenco, con una mujer cantando y otra bailando, prescindiendo de trajes tradicionales y guitarristas.

Se destaca la originalidad al presentar un flamenco a capella y moderno, con un toque de irreverencia y elementos experimentales. Se menciona que el espectáculo incorpora un "plato conceptual vestido de arte flamenco", comparándolo con un salmón que sube la corriente, lo cual puede simbolizar la resistencia o la singularidad del arte presentado. Se resalta la importancia de romper con las convenciones y evitar que el arte puro se convierta en un producto estático y sin novedad. Se enfatiza que, a pesar de la falta de elementos tradicionales, el público responde con entusiasmo, expresando su aprobación con "olés" cuando se percibe virtuosismo. Se sugiere que La Chachi, el grupo o artista responsable, lleva la marca de la vanguardia al explorar nuevas direcciones en el flamenco y al introducir elementos de vestuario normalizado y actitudes irreverentes. En resumen, el texto destaca la originalidad y la frescura del espectáculo de La Chachi al desafiar las convenciones del flamenco tradicional y llevar el arte a nuevas zonas experimentales, manteniendo al mismo tiempo una conexión con la audiencia.

LA CHACHI https://antolloveras.blogspot.com/2023/11/cierto-sentido.html


Tuesday, June 25, 2024

Unlike more conventional dance styles that may focus on the aesthetic beauty of movement or technical execution, conceptual dance seeks to convey ideas or abstract concepts through movement and bodily expression.



Conceptual dance often centers on communicating abstract ideas and concepts. Dancers may use movement to express emotions, tell stories, or explore philosophical themes. Innovation and experimentation: Choreographers and dancers in conceptual dance often aim to break with established conventions and experiment with new forms of movement and expression. They may incorporate elements of improvisation and spatial exploration. Interdisciplinarity: Conceptual dance sometimes merges with other forms of art, such as music, sculpture, painting, or technology, to create richer and multidimensional experiences. Absence of linear narrative: Unlike some forms of dance that may follow a more linear narrative, conceptual dance can be more abstract, allowing the viewer to interpret the meaning of the work more subjectively. Conceptual dance is an approach to dance that places particular emphasis on expressing ideas and concepts, often prioritizing narrative, abstraction, or exploration of philosophical themes over traditional technique or aesthetics.




Lyric Textiles


















Within the combined session, the intermediate dish tends to be the most flavorful. The two artists took the stage with their suitcases full, gradually pulling out the hundred T-shirts they had purchased in Madrid's second-hand markets. The T-shirts all bore the grand poem, the mobile meta-text that we all carry and that shapes the poetry these artists claim as their own, taking on the role of rappers of transit, of the random. They calmly pulled out the T-shirts, reading the encrypted messages on them, texts already faded by the city and now part of their syntactic pentagram. The result was both humorous and emotional. Thanks to the edges and to Casa Encendida, where the courtyard served as a welcoming stage for this new layer of poetic textile.

Dentro de la sesión combinada, el plato intermedio suele ser el más sabroso. Las dos artistas se subieron al escenario con sus maletas llenas, y sacaron poco a poco las cien camisetas que habían comprado en los mercados de segunda mano de Madrid. Las camisetas eran todas portadoras del gran poema, el meta-texto móvil que llevamos entre todos y que conforma la poesía que estas artistas reclaman como propia, asumen la tarea de rapeadoras del tránsito, de lo aleatorio. Fueron sacando las camisetas de forma tranquila y leyendo los mensajes cifrados en ellas, textos ya des-lucidos por la ciudad y ahora parte de su pentagrama sintáctico. El resultado tuvo humor y emoción. Gracias a las aristas y a la Casa Encendida, donde el patio sirvió de acogedor escenario para esta nueva capa poético textil.

LAPIEZA 1760 ___ 2024

La publicidad cíclica ____________________ Notas sobre la obra de Rodrigo García _____________ Tangencias 1759




Los autores que grabaron sus obras en los estrenos, da igual cuando fuera, quieren ahora que la memoria de sus trabajos quede pegada en los nuevos formatos digitales y en la red, que haya hechos. Que todo lo sucedido no quede olvidado y sea accesible para los que llegan ahora a su pasado, muchos años después. Cada escena de los tiempos remotos queda registrada en un plano largo, apenas editada. Es una mirada de cámara analógica sobre trípode, tipo webcam, el ojo que aspira y guarda, un punto que abre y succiona bidimensionalmente esa escena propuesta en el espacio teatral, el producto. El público es ahora un nuevo consumidor crítico de espacios pasados. Es tiempo para los historiadores y los hermeneutas.

Observando en Youtube algunos elementos escenográficos de la obra histórica de Rodrigo García, anoto algunos pasajes recurrentes, como los amasijos de cuerpos y las palabras ligadas a la cultura popular. Encuentro con simpatía la primera pieza que vi en el año 1998 con Sweety Rainer Pan en la sala Cuarta Pared. Protegedme de lo que deseo. Una paráfrasis de una pieza de Jenny Holtzer. Nos invitó la actriz-performer Patricia, que aparcó sus estudios de arquitectura unos años para dedicarse a la escena más fresca e innovadora de la ciudad. Recordaba de aquel día, aún éramos tan jóvenes, las escenas sexuales con los enanos, los huevos fritos, las voces bruscas y los balones de fútbol. Un partido sin reglas. Aquí nace mi vínculo con este autor y dramaturgo, tiempo atrás.

En otra pieza llamada Jardinería Humana, las cópulas se suceden con ciertos cuadros masoquistas, da su cuerpo al arte Sonia Gómez, que forma parte de la serie Blue Bags tras las acciones Streaming Egos en Alemania y también da el cuerpo en esa pieza Nico Baixas, que está presente en la serie El Dorado, tras aquel encuentro en la Galería Alegría, aquel verano que volví tras una larga residencia en México DF, ahora Ciudad de México. 

Lo cíclico. Las burbujas. Los hilos. Los textos proyectados. El cine clásico. Lynch. Los payasos. Los fluidos. El desnudo. El flamenco parodia. Los espejos. Las pelucas. Las motos. Las caricaturas. Los monstruos. Las Máscaras. Las baterías y los timbales. La guitarra eléctrica. Los Dinosaurios. El Toro mecánico. El vehículo 4x4. El humo. El chocolate líquido. Las escalas. La Tinta. Los Muñecos y las frutas. Los gallos. Las tumbonas. Los sofás. La música y el solape. El talco. La cara de cerdo. Los espasmos y la recurrente escena grotesca como mantra.




Este breve texto es un previo al workshop que tendrá lugar en La Casa Encendida de Madrid, bajo el pretexto de un taller literario. Será en mayo de 2023, antes de DOBLE CARA.

DOUBLE SIDED _____________ LLOVERAS I FEIJOO





is a stage piece that contains two pieces 
performed simultaneously.

Thursday, June 13, 2024

MESÓN DE PAREDES 1782 LA CALLE





La Calle del Mesón de Paredes tiene cruces con la plaza de Tirso de Molina, con la ronda de Valencia, con la calle del Sombrerete, con la calle del Oso, con la calle de los Cabestreros, con la calle del Tribulete, con la calle de Juanelo, con la plaza de Nelson Mandela, con la calle de las Dos Hermanas, con la calle de la Esgrima, con la calle de la Encomienda, con la calle de Miguel Servet y con la plaza de Arturo Barea. La calle de Mesón de Paredes es una vía del barrio de Lavapiés de Madrid que desciende en pronunciada cuesta desde uno de los extremos de la Plaza de Tirso de Molina hasta la Ronda de Valencia. Un edificio atractivo para paseantes y turistas curiosos es la gran corrala que se asoma a Mesón de Paredes desde el edificio que ocupa la finca que cierran la calle del Sombrerete y la del Tribulete, declarada monumento nacional en 1976​ y que luego pasó al catálogo de Bienes inmuebles de interés cultural.

https://es.wikipedia.org/wiki/Calle_del_Mesón_de_Paredes CORRALA https://historia-urbana-madrid.blogspot.com/2017/09/santos-yubero-y-las-corralas-madrid.html   













Tuesday, June 11, 2024

Art as refuge: A glance at the 4th Lagos Biennial by Tony Agbapuonwu ___ Le Quotidien de L´Art Edition ___ No. 2774

 


Aerial view of the pavilions of the Lagos Biennial in February 2024. The 2024 edition of the Lagos Biennial, which took place from February 3 to 10 in Nigeria, attests to the resilience that art offers in a time marked by wars, social injustices, and economic upheavals. Curated jointly by Folakunle Oshun and Kathryn Weir, this biennial, symbolically located in Tafawa Balewa Square, reclaimed a space formerly dedicated to Nigeria's independence celebrations and also the venue for the memorable FESTAC '77, the second edition of the World Festival of Black African Arts and Cultures. Choosing a location steeped in its historical context allowed the biennial to delve into a reflection on our shared histories to better envision a future open to knowledge and reconciliation.

Interweaving political claims. Going beyond conventional notions of art as an object, directed by the artists themselves, the biennial favored process-driven approaches, exploring themes such as architecture and urban transformation, digital surveillance, and the construction of postcolonial nations. Through lectures, screenings, performances, and various interventions – from architectural pavilions to immersive installations – the event stimulated a genuine sense of belonging in a space conducive to the creation of new realities. Among these interventions, KJ Abudu's "Traces of Ecstasy" connected indigenous African thought, queer perspectives, and new technologies. This impromptu pavilion brought together artists Nolan Oswald Dennis, Evan Ifekoya, Raymond Pinto, Temitayo Shonibare, and Adeju Thompson/Lagos Space Program to address political and racial tensions, sexuality, diasporic experience, and Yoruba culture. Drawing inspiration from the Afro-Asian Writers Conferences (AAWC), held from 1958 to 1979, the biennial also featured a pavilion titled "Albanian Conference," examining issues of public corruption, cyber-surveillance, and sexism in Nigeria. This event was a model of cultural collaboration, intertwining political claims from diverse locations worldwide to amplify all marginalized voices. The architectural structure designed by Endrit Marku also showcased video clips from the DNA group (Blair and Clinton Opara).

Against cultural homogenization, the Lagos Biennial represented a collective effort of solidarity and resistance. In this context, Em'kal Eyongakpa unveiled an immersive multisensory installation, composed of egg cartons and animated with a series of kinetic sculptures and live-activated soundscapes. The cave-like installation evoked notions of displacement and resistance of populations, with the refugee camps in the Nigerian state of Cross River as a backdrop. Simultaneously, the collaborative textile installation by Martinka Bobrikova, Oscar de Carmen, María Alejandra Gatti, Adebola Badmus and Anto Lloveras questioned the management of waste related to the garment industry. Emphasizing the interconnectedness of global economies and environmental concerns, this collective piece was produced with second-hand textiles from the Katangwa market in Lagos. The installation took the form of a tent set up at the gates of Tafawa Balewa Square, inviting visitors to participate in its creation.

Culture of experimentation. The Lagos Biennial also engaged the public in reflecting on how art can activate public spaces through off-site projects and commissioned works questioning religion or spirituality. Victor Ehikhamenor's multimedia installation, "Miracle Central," allowed the reimagining of the main site of the biennial as a liminal space where the spiritual and the mundane coexist. An installation that played on the versatile nature of the biennial space, which was both a site of revolutions during major national events and a space for the supernatural during Pentecostal evangelical music gatherings. Beyond Tafawa Balewa Square, Uthman Wahaab transformed the gallery of the National Museum of Nigeria into a protean space for healing and meditation. The project, a result of long-term observation of Sufi practice in the artist's family, is an artistic interpretation of the Islamic concept of khalwa (inner retreat).

As we navigate the complexities of the time, the 2024 Lagos Biennial reaffirmed the role of art and creativity as catalysts for essential social change, vital to the formation of a new collective identity. The event fully embodies the aspirations of a changing and interconnected world, as artists of this generation envision the future. In this spirit, the words of former Nigerian President Olusegun Obasanjo in his foreword for FESTAC '77 come to mind: "Culture remains one of the most important avenues to reason and the meaningful evolution of a nation. It has repeatedly proven to be a means of strengthening friendship and understanding among peoples. Nigeria believes in the moderating and redemptive qualities of culture to soothe, through exchange, global tensions."

Despite a one-year interruption, the importance of the biennial remains paramount as the event not only strengthens the influence of the Lagos metropolis but also encourages a culture of experimentation and creative freedom within the local artistic community. By bringing together artists, researchers, scholars, and international audiences, it raises a fundamental question: how to encourage individuals to see themselves as authors of tomorrow's narrative?

SOURCE - https://www.lequotidiendelart.com/articles/25237-l-art-comme-refuge-un-regard-sur-la-4e-biennale-de-lagos.html + INFO http://lapiezalapieza.blogspot.com/2024/02/iv-lagos-art-and-architecture-biennial.html


THE TRANS LIGHTHOUSE ___________ Manifesto____________ I International Congress of Ecological Humanities ________ UAM May 2023






The universal manifesto for the TRANS-LIGHTHOUSE is formulated as a speculative literature about the humanity of the future, and proposes several leaps of scale for the generation of a hybrid sensibility, which bases the strategy of thought in a utopian and at the same time pragmatic scenario, proposes the rapprochement of these two antagonisms. Although realism illuminates us in our daily course, the vision of the horizon, our own future in a hundred years, a future no longer ours, but of the species, allows us to assume greater challenges and greater conceptual breadths. Once the tone of this manifesto has been pointed out, we go on to narrate what for us could be a global scenario that would host a transnational investigation of world housing. In a world already mestizo and brotherhood, the hundred largest cities, where the avant-garde is presented in a self-generated way on the margins, in the trenches, emerges from those who are not represented by the current forces and powers, who act with paternalism on questions of a philosophical nature, a need for union, for a bond that shows a new city, transnational, a dispersed city that lives all over the globe. If we take the latest philosophical concepts, about petrosex-racialized bodies, we assume that the generating discourse has to emerge from a global synthesis. The logics of the panoptic vision, which today make up the big brother in the network, we take the guides to provide a certain literary avant-garde to face a conceptual idea of great size. If today in the world there are more than a hundred cities with a million inhabitants, we will take those hundred and analyze their form and their socioeconomic context. The dystopian will be mutilated in favor of a test-tube thought, a thought where the most vulnerable are the new untouchables, those who access the TRANS LIGHTHOUSE, which is not only the name of the manifesto, but also the tectonic-spatial formula that we want to develop as an urban and social concept. What is to come is larger than we know. We will not call it a laboratory, but a scene of the real within the real. The transhumanoid is a complex body because it contains all the possible bodies without distinction.

 

Just as the law is universal and for all, the transhumanoid is the prototype that encompasses all the bodies trained by the algorithm, a tool that responds to common needs and these people become the focus of discourse, to be the discourse. This map of people are the ones we are going to take care of, we are going to incubate the proposal for them and we are going to make that germ our flag. The new FAROS TRANS respond to the new urban planning policies, where building land is an expensive and scarce resource. The new urban enterprises are promoted throughout the new centers defined and equipped with quality public services and spaces. The idea has been to reduce the number of trips by car and increase journeys on foot or by bicycle. The development of these centers with new public spaces of proximity and quality, with the necessary services, at distances of no more than five minutes on foot, implies an efficient and resilient use of the land, without styling or coloring. The color will come from your height and your garbo, where in each window there will be a different voice and a different language. The TRANS NEIGHBORHOODS are proposed, where the questions of future wishes will be formulated to the citizen, where the TRANS LIGHTHOUSE provides a housing infrastructure regardless of your past life, and a TRANS LIGHTHOUSE for each city in the world, without exception. The new cathedral is the TRANS LIGHTHOUSE. It is proposed that between each of them there is a network of exchange of spaces once the citizen space has been obtained. The new urban trends will be swallowed by the algorithm, taking the densification, the elements of order, surrounding it and watering it with an immense green and aqueous structure, around the TRANS LIGHTHOUSE, which will always be built with active facades and generators of energy, will be batteries of the system. There would be no individual traffic, only shared transport, which will be renamed as an ecological zone in motion, which will also be an energy generator, the displacement will be entropic, energy will be gained, the speed will be minimal and the meeting places will be all possible places, with a rhizomatic universal design of differential spaces, which will sustain the parameters of the TRANSHUMAN scale to generate historical depth and memory of the past and the future.


The project wants to first store data and map ideas from civil society to provide proposals that concretize the interconnection between the hundred most populated cities in the world, with the possibility of mixing with all cultures and ages with the flexibility that gives the use of bigdata. For each situation exposed there will be an inclusive text that encourages transhumanism. Moral notions inherited from philanthropic concepts will be taken, and these will be passed through the filter of utopian ideas and versioned by reformist verses, where the notions of equality, centrality and globality will have to be discussed and new reports will be given on what interests transhumanoids, those who will live in the TRANS FACES.  within TRANS districts, in TRANS neighborhoods, generating new nodes, applying the maxims of contemporary urbanism, which requires that the centers be developed, and that mobility be minimized in favor of stillness. Each TRANS district is a counterweight to the idea of center. The new label of TRANS CITY will be a global body created by the effect, with direct voting by internet from every corner, and the practical notions derived from artificial intelligence and algorithms will be used in favor of this new multi-nodal city. 


Each body is a gift, an offering that within the manifesto we must take care of from the beginning to the end. We will analyze the normalized trajectories of the hundred years of half-life of each body and naturalize its face-to-face and visual exchange with all other bodies that do not represent their age, but one of the other numbers. The memory of each of the bodies makes it a color. If we take childhood as a yellow and adulthood as a blue, all possible ranges of greens are the social map to develop. The encounters between these bodies form the human forest we desire, transecological humanism is the horizon. Living among transgenerations is a way to strengthen all the natural states of the transhumanoid.  The TRANS TOWERS contemplate not only the inclusion of bodies of different ages, but of bodies of colors, cultural identities and diverse sexual orientations.  Age represents a temporary clause that will be one more ingredient in the TRANSHUMANIST ecosystem.


An exhibition is proposed in the form of an anti-symposium, where eminent sociologists, economists, philosophers, nutritionists, indigenists, futurists, avant-garde, revolutionaries and high bourgeois of all times will be invited in the form of text, essay, document or image and make these ideas, interrelated with transhumanist futurist visions, take the form of manifesto of the TRANS LIGHTHOUSE. We provide images of our own harvest, of our projects, so as not to take the image yet to familiar places. We do not want to be small library hermeneutics that provide a found case, and go unraveling as a scientific essay that justifies the theoretical deployment. We use in a synthetic way our formal exercises as active transhumans, as cells that digest the look of signs and result in a very minimalist, dry, black and white exposure with data. We want the vision to be as revolutionary as a field of sunflowers on a roof, to be as fresh as a kindergarten run by old people, a library for the blind, a supermarket run by psychotics and gardens carved by an army of very high class ladies, in their best clothes, photographed by the youngest for the networks, all at the service of ecological and avant-garde transhumanism.


Figure 1: The network of most populous cities in the world each contains a TRANS FARO. Each of the cities develops a mapping and establishes and executes a neighborhood, with the towers, which assumes all the necessary parameters to receive the nomenclature. Each FARO is an embassy for the transhumanoid, who will be free to move around the sector with all the freedoms that FATO brings.  In each FARO there is a list of jobs and volunteers for subsistence.

Figure 2: The trans city sits in what we call the fifth urban city. Taking each city as a platonic form, represented by interconnected temporal layers, where the historical times of urbanism have defined ways of life associated with constructive forms and development. The central layer is an area of the city called the historic center, the first spot, the origin, compact, while the second and third layers expand the city towards a more fluffy city, pushed towards the countryside by decentralizing movements and by the expansions. The fourth city corresponds to the functionalist city, associated with the automobile, while the fifth city, where the TRANS FAROS are based, is a form of multinoodal densification, of filling that heals.

Figure 3 - The TRANS TOWERS sit in the fifth city, on the interstices wasted by the urbanism that precedes them, as a form of healing for the territory. The image of the lighthouses refers to constructions of considerable size, where the exterior spaces are sewn by the presence of the volumes and where the buildings represent a retrofuturistic order, which has a symbolic meaning of great power and brotherhood with the image of the manifesto of FAROS TRANS. The sector responds to an image of structures manufactured for a new humanism, for a man who inhabits the center of the cities in his new cathedrals. 

Figure 4.  The TransCitizen has universal rights. and is connected to a large database that gives him his rights in real time, within the capitalism of mixed economy, shared economy, circular economy and private economy.  The TransCitizen represents as an image the synthesis of the species. The TRANSHUMAN sapiens sapiens.





SITUATIONAL SPLENDOR


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.


La crítica describe una obra que utiliza una combinación de elementos simbólicos, surrealistas y a veces provocativos.

La obra parece utilizar una mezcla de simbolismo mundano y elementos surrealistas. Desde la directora que realiza acciones inusuales hasta la representación de la virgen y la madre inmaculada por cinco señoritas orondas, la obra parece estar explorando significados más allá de la realidad tangible. La utilización de cuerpos para representar a otros puede sugerir una exploración de la identidad, la transformación o la conexión entre las personas. El uso de cinco señoritas orondas para dar forma a la virgen podría tener connotaciones simbólicas y estéticas. La crítica destaca la combinación de elementos como la música de Semana Santa con el retozo en la mierda, lo cual sugiere un contraste llamativo entre lo sagrado y lo profano. Este contraste puede ser una herramienta para provocar reflexiones y reacciones en el público. La obra parece buscar provocar y desafiar las expectativas del público a través de imágenes y acciones provocativas, como la directora realizando actos inusuales y la representación de actos sexuales y degradantes. La "metralla verbal" junto con una "imaginería minimalista" sugiere que la obra puede depender de la potencia de las palabras y las imágenes simplificadas para transmitir sus mensajes y emociones. La referencia a "una vez más" al final de la crítica podría sugerir que la obra está explorando temas recurrentes o que busca transmitir un mensaje que persiste a lo largo del tiempo. En general, parece ser una obra que busca desafiar las convenciones teatrales, mezclando elementos cotidianos con simbolismo más profundo, y utilizando provocación para estimular la reflexión del público. La interpretación final de la obra dependerá en gran medida de la perspectiva y sensibilidad individual de cada espectador.

LIDELL https://antolloveras.blogspot.com/2022/01/el-padre-la-virgen-y-la-ecuacion.html

La escena es bastante gráfica y controvertida, tocando temas de desnudez, observación explícita de genitales, violencia y simbolismo. La interpretación de esta crítica puede variar según la perspectiva de cada individuo y sus valores personales.





Algunos podrían ver esta obra como una exploración artística y provocativa de la sexualidad, la vulnerabilidad y la transgresión de límites sociales. Otros podrían considerarla ofensiva o inapropiada debido a la naturaleza explícita y controvertida de las representaciones. En el arte contemporáneo, es común que las obras desafíen las normas tradicionales y provoquen reacciones diversas. La intención del creador y la recepción del público pueden variar ampliamente. Si esta descripción es real y forma parte de una obra existente, podría generar discusiones significativas sobre la libertad artística, los límites éticos y la interpretación del arte.

Milo Rau is a Swiss director, writer, and journalist known for his provocative and politically engaged theatrical works. He often addresses real-life events and social issues in his productions, blurring the lines between reality and fiction.

https://www.youtube.com/watch?v=F8B0Bptur2A

https://www.youtube.com/watch?v=n8_NbeIkyB8


El creador suizo Milo Rau, dramaturgo, director, cineasta y periodista, al frente actualmente del teatro NTGent en Bélgica, nos tiene acostumbrados a tratar temas espinosos en sus obras y la polémica, muy a su pesar, le acompaña, precisamente porque se atreve a poner sobre los escenarios historias que revelan la cara más desoladora de la humanidad. Con Familie, tirando de tópico, da una vuelta de tuerca más y nos muestra a una familia real, la conformada por una pareja de actores (An Miller y Filip Peeters) y sus hijas adolescentes (Louisa y Leonce), interpretando a la familia Demeester, también de cuatro miembros, que protagonizó un hecho espeluznante cuando decidieron suicidarse juntos en Calais, donde vivían, al norte de Francia. Lo más significativo es que era una familia “normal” de clase media, sin problema alguno, una familia como tantas otras. La noche anterior al suicidio es lo que se pone en escena en esta pieza.