La Ribot, escurridiza y combativa
28 Julio, 2018, México
La danza desnuda de Jérôme Bel
7 Octubre, 2017, México
La democracia del cuerpo o inflar los cachetes (sobre la práctica y obra de Yvonne Rainer).
2 Octubre, 2016, México
*Estos textos fueron también publicados en Argentina en 2(DA) CUADERNOS DE DANZA:
-Dance reviews/ reseñas de danza
WOMAN SRSLY TAKEOVER Wildlife in Strange Waters, resonates with immense force in our bodies, in all bodies.
March 18, 2019, London
PEEPING TOM VADER …trying to forget my feelings of love…
February 3, 2019, London
GöteborgsOperans Danskompani, Sidi Larbi Cherkaoui & Antony Gormley ICON. An unresolved mixture of clay and dance.
December 1, 2018, London
Dimitris Papaioannou’s The Great Tamer, images of liquid poetry.
October 17, 2018, London
Woman SRSLY, It is worth celebrating loudly the 1st birthday of this unique platform for female artists.
September 1, 2018, London
Interview with Hofesh Shechter. “East Wall is a celebration – it’s about creating a euphoric feeling of movement, of colour and of sound”
July 23, 2018, London
Hofesh Shechter’s East Wall: Storm of the Tower, an exceptional celebration.
July 20, 2018, London
Hofesh Shechter’s Grand Finale: a memorable farewell, or rather, a coming back to life.
July 6, 2018, London
-MA Dissertation/Tesis de Maestría
An embodied journey through the bloodied genealogy of
female Latin American performance art.
Dissertation submitted in partial fulfilment of the requirements for the degree
Masters of Arts in Contemporary Dance
London Contemporary Dance School
University of Kent at Canterbury
“Sangre Invisible is a very engaging narrative of the search for a story, an essay that asks after its own possibility, and a piece of personal writing that brings to account the politics of who can write and be written about.”
Dr Martin Hargreaves, Jan 2019.
This research questions the existence of a genealogy of female Latin American performance art practices, tracking their visibility in global historical accounts since the 1970s up to the present. It then explores the potential and possibilities of blood as material, comparing its motivation to that of other generations of artists abroad.
Drawing from my own performance practice and enquiring, I question how can I position myself as part of that lineage. I analyse and take as examples some of the blood-based performances from three artists that have lived in very different geographical and political contexts across the continent: Ana Mendieta (Cuba, 1948 - New York, 1985), María Evelia Marmolejo (Colombia, 1958), and Regina José Galindo (Guatemala, 1974).
*If you would like a copy of the whole written text, please contact me.