IPAM_DANCE DOC

IPAM_Dance is a platform for joint productions and exhibitions aimed at artists who have projects to produce in the next two seasons. It is also aimed at Catalan, Spanish and international producers. IPAM_Dance expects to build a context of trust that allows international co-production and favours dialogue and knowledge exchange. IPAM_Dance 2014 will take place in Barcelona for two and a half days (8th-10th July) and will attract independent curators, artists, distributors and directors of arts and creation centres and festivals

IPAM_DANCE DOC 2014

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IPAM 2014 DOCS

Since March, sectorial meetings have been taking place in order to define the role of dance in the new edition of the International Performing Arts Meeting (IPAM), which will be held in the setting of the Festival Grec 2014.

The second edition of the Dance Internationalisation Showcase (Finestra d’Internacionalització de la Dansa) will take place on 8th,  9th and 10th July. That time, the event won’t be just about exhibiting Catalan projects. Instead, it will concentrate on both favouring networking in order to motivate future joint productions and on improving diffusion strategies for local dance projects for the next year.

The new work proposal aims to reinforce the relation between the artist and the agents that nowadays produce dance performances in Catalonia (basically, performing arts festivals). It will be accompanied by a showcase of companies from Brazil, Uruguay, Chile and Mexico. There will also be a parallel programme which will aim to exhibit the artistic universe of Barcelona. That programme will be based on a series of itineraries that have to be built. To sum up, it will be a new device to help present the artists not only from the point of view of production, but also as driving forces in the territory.

Below, we attach the documents that summarize the conversations that have been going on and the decisions that have been taken in the sectorial meetings about the IPAM 2014. We remind you that the meetings are open to everyone in the sector and that there is no need to be invited to take part in them.

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IPAM 2014 – Second edition

La nova edició de l'IPAM posarà el focus en la cerca de coproductors

The second edition of the Dance Internationalisation Showcase (Finestra d’Internacionalització de la Dansa) will take place on 9th and 10th July. That time, the event won’t be just about exhibiting Catalan projects. Instead, it will concentrate on both favouring networking in order to motivate future joint productions and on improving diffusion strategies for local dance projects for the next year.

The new work proposal aims to reinforce the relation between the artist and the agents that nowadays produce dance performances in Catalonia (basically, performing arts festivals). It will be accompanied by a showcase of companies from Brazil, Uruguay, Chile and Mexico. There will also be a parallel programme which will aim to exhibit the artistic universe of Barcelona. That programme will be based on a series of itineraries that have to be built. To sum up, it will be a new device to help present the artists not only from the point of view of production, but also as driving forces in the territory.

Notes on the 2013 International Performing Arts Meeting (IPAM)

Last July saw the presentation of the first Window for the Internationalisation of Catalan Dance within the framework of the International Performing Arts Meeting, also organised for the first time, at the Grec Festival.

This window, which materialised in the form of an IPAM dance itinerary, was developed in conjunction with the dance agents in Catalonia: associations, professionals, independent agents, structures and public administration. On the one hand its aim was to offer international programmers a sample of the work of Catalan artists and companies that might be well received by audiences in other countries, and, on the other hand, it was intended to provide local artists with a platform for international promotion that helps them generate interest in their proposals and make them known abroad.

About 150 professionals gathered together for a few days in July in Barcelona, during which time they were able to attend nine dance shows and seven presentations of projects chosen on the basis of an open call and independent international selection made by a group of six international experts. The IPAM also included a multidisciplinary itinerary, where six pieces were presented. Those were busy moments of meetings, exchange of cards, agreements and discoveries. The institutions that promote artistic internationalisation were at hand to explain their help and support programmes, and there was also room for the public eye with the presence of five Mercat de les Flors members, who were invited to share the experience and learn about the process of distribution, the part which the audience never gets to know about.

Jaime Conde-Salazar was invited by El Graner to join the group in the role of an outside observer and theorist. He wrote seven posts for El Graner website, which are not intended to be typical reviews, nor a report of what happened, but rather an journey through his recollections, though the sediment that some of these shows on both itineraries left in his memory and which he grouped under the title Lugares de acción (Places of action).

El Conde de Torrefiel presented Observen cómo el cansancio derrota al pensamiento (Observe how tiredness defeats thought). The questions thrown out during the show, while the audience watches a basketball match between friends, are an invitation to define oneself and take positions. Later, an interview between a man and a woman, also in voice-over, leads to the admission that life is shit, that place being private because it is within that statement and in that trajectory of the ball towards the hoop that the individual exists.

Conde-Salazar tells us that right at the beginning of Delta, by Aymar Pérez Galí, he realised that the relationship the audience would establish with the show was not going to be contemplative. As the minutes go by, the show demands a constant intellectual effort to follow the thread, to read the writing that emerges directly as the dancers perform a series of movement structures and betray the conventions.

The boundaries between reality and performance are blurred in the piece by Societat Doctor Alonso: during a tour of a changing world whose sounds come through to us we are presented with the philosophical question of whether the self is something formed independently of what surrounds it. This is a piece which suggests that what happens may well be defined by our imagination.

Diari d’accions, by Pere Faura, is a linear representation of a series of newspaper headlines, removed from the context of the news that accompanies them. The language frees itself from the ideas, stops being black on white and becomes a reality that emerges as visual poetry bursting with humour.

In Crónica de José Agarrotado, by the company loscorderos, the two characters onstage, whose bodies seem to always reach the limits in the performance of actions that avoid conventions, appear as the unfolding of a sole consciousness, of a shared inner dialogue.

During the four days the IPAM lasted we were also able to see the duo Solos Bach & Gould, choreographed by Albert Quesada; the solos Where The Things Hide by Guy Nader and El pliegue by Sonia Sánchez; Trinity, an interactive audiovisual dance piece by Òscar Sol and Iris Heitzinger; and Crash by Olga Álvarez/La Taimada. Also in the field of dance, projects were presented by La Veronal, Eulàlia Ayguadé, Roser López Espinosa, Umma Umma Dance with Manuel Rodríguez, CONTRAPUNCTUSdanceport and Roberto Olivan/Enclave Arts del Moviment.

And as regards the IPAM multidisciplinary itinerary, the guest observer’s recollection of Montaldo is the contemplation of a rather unconventional performance and storyline, which does not develop in the linear way the storyline might suggest, but occurs in the body-stage of Ernesto Collado, the place where the poetics of a journey in search of utopia are explored physically.

If the history of dance has traditionally been explained by the accumulation of techniques, with the new prevailing over the old, Toni Jódar, in an autobiographical exercise with clearly didactic intentions, explains how his body is a kind of container for all of them, before coming to the conclusion that the forms are what they are because, in essence, they speak of the private lives of the bodies that make them possible.

Although the series Lugares de acción (Places of action) only concerns itself with two of the projects in the multidisciplinary itinerary, it also included shows by Colectivo 96º, circus artist Jorge Albuerne, and CaboSanRoque and Carles Santos with Maquinofòbiapianolera.

Sol Picó, Oguri and Andrés Corchero, Societat Doctor Alonso and Àngels Margarit/Cia. Mudances also performed on the main programme of the Grec Festival.

At a time when it seems that creating a brand identity is becoming crucial to collective survival, the Window for the Internationalisation of Catalan Dance and, by extension, the IPAM that hosted it, served to give creativity its due importance, diverse and multifaceted by definition, and fleeing the repetitive mark of a sole region. The recollections of Jaime Conde-Salazar, besides constituting a map of the different areas of action, are a testimony to several spaces that – along with the rest of the programme dedicated to dance – are representative of themselves.

IPAM International Performing Arts Meeting (IPAM) – Festival Grec 2013

Last July the International Performing Arts Meeting (IPAM) took place in the framework of the Grec Festival 2013.

IPAM presented a multidisciplinary itinerari and a dance itinerary (Window for the internationalization of Catalan dance), an initiative launched by several agents of the sector and institutions devoted to the internationalization of the Catalan culture.

Pia Mazuela and  Fani Benages (Associació de Companyies Professionals de Dansa de Catalunya) and Marc Olivé (Mercat de les Flors) talk us about the project.

The Window was organized through an open participation open to the companies. The final selection was possible thanks to an avaluation done by a independent comission with the participation of Christian Watty (Internationale Tanzmesse, Germany), Mojca Jug (Bunker, Slovenia), Francine Bernier (Agora de la Danse, Canada), Benjamin Perchet (Maison de la Danse Lyon y Biennale de la Danse, France), Leonel Brum (Bienal Internacional de Dança y Dança em foco, Brasil) and Eddie Nixon (The Place Londres, Great Britain).

More info about COMISSION OF ASSESSMENT

The selected companies were the following:

Performing on stage*

Guy Nader – Where the things hide
Sònia Sánchez – El Pliegue
loscorderos – Crónica de José Agarrotado
Òscar Sol i Iris Heitzinger – Trinity
Olga Álvarez/La Taimada – Crash
El conde de Torrefiel – Observe how tiredness defeat the thought
Pere Faura – Diari d’accions
Aimar Pérez Galí – Delta – A post-Believe Manifesto
Albert Quesada – Solos Bach & Gould

* More info about all PERFORMANCES

Projects presentation **

La Veronal – Islandia
Societat Doctor Alonso – Introduction to introduction
Eulàlia Ayguadé – Little Me
Roser López Espinosa – Lowland
Umma Umma Dance & Manuel Rodríguez – Stuntman/Loser Kings
CONTRAPUNCTUS Danceport – Full Evening
Roberto Olivan/Enclave Arts del Moviment – A place to bury strangers

** More info about all PROJECTS PRESENTATION

Here the IPAM PROGRAM  and the FULL PROGRAM

The artist Jaime Conde-Salazar was one of the guests of the meeting. He wrote a post series entitled Lugares de la acción (Action places), focused on the artistic point of view of IPAM.

More info about “Action places”- LUGARES DE LA ACCIÓN

Five subscribers of Mercat de les Flors were also invited to the dance itinerary of IPAM and they gave us their impressions about it.

PERFORMANCES – IPAM 2013

The selected companies were the following:

Guy Nader – Where the things hide

Guy Nader_Where The Things Hide_© Hussam Mcheimech

From hiding among everyday things, there emerge new worlds, new dimensions led by metaphors which alter the perception of immediate reality. The absurd, paradox and humour are to be found in our body. A decontextualised everyday body, which is not only the reflection of what there is but is also related to the awareness of what is missing. Structured behind its normal appearance, recognizable and familiar to us all, there is a certain strangeness that yields new sensations and different perceptions.

Lebanese artist Guy Nader lives in Barcelona. He combines the creation and direction of his own works with collaborations with other collectives and artists from various disciplines. He has worked with Bebeto Cidra, Maqamat Dance Theatre, Oreet Ashrey and Roser López Espinosa, among others. Inspired by different disciplines and martial arts he has created his own distinctive choreographic language. He has won international recognition and several awards, including the first prize at the 2010 Masdanza International Festival. He was granted a Europe DanceWEB scholarship to attend the ImPulsTanz Festival in Vienna in 2012. He is artist-in-residence at La Caldera.

Idea and direction: Guy Nader. Performer: Guy Nader. Choreographic assistant: Maria Campos. Light design: Xavi Muñoz. Technician: Amadeu Solernou.

With the support of BIPOD-Beirut International Platform of Dance and Maqamat Theatre Dance. With the collaboration of La Caldera-Centre de creació de dansa i arts escèniques contemporànies.

+ info: www.guynader.com

Sònia Sánchez – El Pliegue

Sonia Sánchez_El Pliegue_© Alexy Goes Photos

El Pliegue (The Fold) is focused on the inside and outside memory emerged from the sounds and the silences, the melodies and the dissonances, the passions and the understandings, the attitudes and the gestures. Each experience is used as an inner movement that creates the relief and the textures in the dramaturgy.  The piece has came up from the research by Sonia Sánchez in the context of the workshops series called El inmediatamente de al lado, whose objective is to create intimate and common spaces and moments of reciprocity.

After 33 years travelling the world of dance and music, Sonia Sánchez is still fully committed to her dancing, relentlessy exploring and pushing for more. Linked to flamenco since she was born, in 2002 she decided to initiate a new phase of deeper inquiry into the forms of education, creation, composition and transmission involved in this art. With no intention of disregarding the revolutions that preceded her, she has developed a method of physical learning and training inspired in the tools of Body Weather and flamenco.

Creation and performance: Sonia Sánchez. Artistic collaboration: Joan Saura, Liba Vilavecchia, Manel Vizoso, Patricia Caballero, Eduardo Rodilla, Meritxell Roda.

With the support of Mercat de les Flors. Technical cooperation: Centre Cívic Can Felipa, Centre Cívic Barceloneta,
Centre de Creació Burg, Centre d’Investigació OK Corral and L’Estruch.

+ info: http://soniasanmar.blogspot.com.es

loscorderos – Crónica de José Agarrotado

loscorderos_Cronica de Jose Agarrotado_© rojobarcelona

An intimate atmosphere, forceful physical and verbal actions. An elaborated but fresh and daily absurdness is used to create a singular world, with its own laws. The will of coexisting in general terms, and its particular impossibilities, with the consequent collapse of the universe created. Crónica de José Agarrotado is, basically, an ultimate date with someone as close to you that could be your partner or yourself. Have you ever thought that killing your alter ego could help you in putting up with life?

The work of loscorderos.sc consists in a series of studies on human nature. Their language on stage is not based on words, but on the inter-relation of text and physicality, and aims at finding a new narrative, one with which to arrive at extra-ordinary worlds, far removed from the simple portrait of reality. David Climent and Pablo Molinero, together with Pilar López, founded the company in 2003. Their first work, Crónica de José Agarrotado, earned the Premi Aplaudiment Sebastià Gasch and, ten years after, it continues to evolve throught its representations. Their second work, El mal menor, was awarded the prize for the best theatrical production by the Unnim de Teatro Award. Their last piece, El cielo de los tristes, won the best show at the III CENIT and FAD Sebastià Guasch Prize. In 2003 the company is selected for the European project modul-dance and starts a new creation in collaboration of several European dance houses. 

Creation direction and performance: David Climent and Pablo Molinero. Music: Carles López, Pepe J. Gómez. Light design: Anna Rovira, Oscar de Paz. Technician: Chus Parcero. Costumes: loscorderos.sc. Management and production: Pilar López.

+ info: www.loscorderos.es

Òscar Sol i Iris Heitzinger – Trinity

An interactive audiovisual dance piece that narrates the journey of a body passing through different states of spatial perception. Through movement, the body is immersed in an environment of textures and audiovisual landscapes that not only accompany but it also push it towards a process of transformation. Through the close link between the triad of movement, light and sound, a language is shaped that allows the expression of these elements in space while generating profound changes in the physical behaviour of the body the reverberations and echoes of its own actions.  

Óscar Sol works in the fields of visual arts and interactive technology and has specialised in the development of real-time generative visuals using the programming tool Jitter. In 2009 he launched the group project Electronic Performers. He has collaborated with Lectrovision, Eric Singer and Cristian Vogel, among others. Iris Heitzinger studied at Anton Bruckner Privatuniversität in Linz and continued her training in England, Belgium and Finland. Freelance dancer and teacher, she is co-founder of the guinea pic collective and collaborates as a creator with artists from other fields. Ramón Prada is an internationally renowned musician and composer. His works include symphonic music, soundtracks, chamber music and sound spaces for theater plays. His recent compositions use the most experimental electronics and live sound and sound manipulation.

Original idea: Óscar Sol. Creation: Óscar Sol, Iris Heitzinger. Choreography and performer: Iris Heitzinger. Music: Ramón Prada/Vittus. Interactive design and visuals: Óscar Sol. Costumes: Ariadna Papiol.

A production of Electronic Performers. With the collaboration of NU2′s, Graner Centre de Creació and Mercat de les Flors.

+ info: http://electronicperformers.in

Olga Álvarez/La Taimada – Crash

Olga Álvarez_Crash

Crash becomes the collapse of two bodies, of two souls united to melt, but also to get lost and crash. It is not a love story, it does not explain who its characters are, what they do or what they are worth. It only shows a piece, an interval in which the two characters cross, collide and jump over their own cliff.

Olga Álvarez trained with Anne Morin, Carles Sala, Andrew Harwood, Benoît Lachambre, Àngels Margarit, Jordi Cortés, Lipi Hernández, Alexis Eupierre and Thomas Hauert, among others. Since 2002 she has been a professional dancer with the companies Búbulus, Artur Villalba, Las Malqueridas, Didi Dorvillier and Magda Polo. In 2004, together with Leyre Llano, she created Cia. LaTaimada, in residency at La Caldera, La Danseria and Cal Bolet theatre. La taimada, Kuadrilater, Silenci: projecte XXI, Estimada Ventafocs, (M)alicia and Postmalicia are among her creations. For five years she has been artistic director at Festival Danza También, run by the Vilafranca City Council.

Direction: Olga Álvarez. Choreography: Marc Fernández, Angie Mas, Olga Álvarez. Performers: Marc Fernández, Angie Mas. Creative assistants: Beatriz Souza, Maribel Martínez. Music: Ilia Mayer. Production: Cia. LaTaimada. Technical production: Censet. Executive production: Anna Iglesias.

+ info: https://vimeo.com/channels/lataimada

El conde de Torrefiel – Observe how tiredness defeat the thought

The dramaturgy of the piece juxtaposes a basketball match where players measure their stamina, strength and skill. Meanwhile, a man and a woman discuss personal issues, questioning each other such vital concerns as love, politics, money, entertainment, art and death. Both the match and the conversation are invisibly linked by the idea of confrontation: a tour de force with the intended purpose of “winning” the game, whether playing basketball or defending an idea.

Pablo Gisbert and Tanya Beyeler lead El Conde de Torrefiel, a project whose works are the result of an oscillation between literature, art and choreography, and which seeks to transcend the parameters of verbal language. As if they were discourses or circumstantial hypotesis, their works shape an approach aimed at answering a bigger question: How do we transfer contemporary reality to the stage? The company began working professionally in 2010 and is part of the artistic team of the dance company La Veronal, working on the textual and dramaturgical composition of its pieces.

Conceived and devised by: El Conde de Torrefiel. Direction: Pablo Gisbert, Tanya Beyeler. Dramaturgic assistance: Celso Jiménez. Performers: Pablo Gisbert, Andreu Martínez, Jordi Rodríguez, guest basketball players. Text: Pablo Gisbert. Music: Frédéric Chopin, guest musical band.

With the support of La Porta (residency program Espacios Cómodos 11), Consell Nacional de la Cultura i les Arts-Generalitat de Catalunya and Institut Ramon Llull

+ info: www.elcondedetorrefiel.com

Pere Faura – Diari d’accions

Through the use of objects, body movement or video language, headlines from daily newspapers become a poetic and choreographic manifestation when they are acted out or broken up in a poetic and visual physical exercise that explores the frontier between language and action, between score and execution, between previous expectations and the final results, between linguistic literalities and theatrical metaphors.

Pere Faura graduated from School for New Dance Development in Amsterdam in 2006 with a piece that won the ITS Festival Award and was selected for the DansClick tour of The Netherlands. The same year he started to work at the Teatre Frascati in Amsterdam as a resident choreographer. There he has developed most of his pieces, presented internationally. In 2009 he won the prestigious Charlotte Kohler Award. In 2001, after graduating from the Amsterdam School of the Arts (AHK) with a Masters in Choreography, he returned to Barcelona and started to work on new productions and collaborate with other vistual artists such as Iñaki Álvarez, Joan Escofet and Aggtelek. His work is characterized by the appropiation of elements from pop culture such as strip-tease, musicals and porn, in a multidisciplinary choreography that incorporate all the elements comprising the theatrical medium.

Creation and direction: Iñaki Álvarez, Pere Faura. Light design and technician: Israel Quintero.

A production of Pere Faura and Iñaki Álvarez. With the support of the, Centro Coreográfico de La Gomera, Consell Nacional de la Cultura i les Arts-Generalitat de Catalunya and L’Estruch.

+ info: http://perefaura.com

Aimar Pérez Galí – Delta – A post-Believe Manifesto

What can we believe in when we have all the necessary critical apparatus to dismantle any theory, belief or movement? We are faced by a declaration of intentions on an experiential level, which will question the capitalistic paradigm of provoking constant surprises with the new, revisiting what are apparently already worn out procedures and methodologies, playing with the question: what if now I believe in this?
This choreographic score follows in the footsteps of minimalist artists from the 1970s like Lucinda Childs or Sol LeWitt. Mathematical and geometric calculations are used to play with expectations and establish a ritual that evokes the sublime: a closed repetitive structure that aims for a sustained, abstract state within a cosmic construction.  

Aimar Pérez Galí works in the field of the performing arts. He graduated as a modern dance performer from the Amsterdam School of Arts of and is currently completing the MACBA’s Independent Studies Programme. He works abroad with Xavier LeRoy and Nicole Beutler, while also developing his own work and directing Espacio Práctico.

Concept and direction: Aimar Pérez Galí. Performers: Carme Torrent, Clara Tena/Javier Vaquero, Aimar Pérez Galí. Music: Sara Fontán. Music collaborators: Dani Vega, Björt Runarsdottir, Edi Pou, Lucrecia Dalt, Marc Abad. Light Design: Akim Hassani. Costumes: Jorque Dutor. Wigs and make-up: Paco Garrigues. Movement assistant: Laura Alcalà. Technician: Valeria Linera. Production: www.lafalla.net.

A co-production of Kunstcentrum BUDA and Mercat de les Flors. With the support of Institut Ramon Llull, Fàbrica de Creació Fabra & Coats and Graner Centre de Creació.

Albert Quesada – Solos Bach & Gould

A detailed study of Glenn Gould’s renowned interpretation of Bach’s Goldberg Variations based on instructions for the dancer created in close relationship with the soundtrack and the pianist’s explanations. The musician records the variations, makes mistakes and tries again, discussing his way of playing and his recording. In this duet, which offers two new interpretations of the score, the movement both accompanies and directs the music.   

After studying Philosophy and Engineering Multimedia, Albert Quesada trained at P.A.R.T.S. in Brussels and at the Hogeschool voor de Kunstern-MTD in Amsterdam. He has performed with Benjamin Vandewalle and, since 2009, dances with the company ZOO-Thomas Hauert. Together with Vera Tussing, he is on tour with Trilogy, which consists of three short pieces with musical structures, Slow Sports and Ensemble, his last piece. He is stage and video creator and, currently, he is preparing an exploration of how orchestral music is understood.

Choreography: Albert Quesada. Adaptation and created with: Federica Portello, Mireia de Querol, Petra Söör. Performers: two of the adaptators mentioned. Music: outtakes of Glenn Gould’s Goldberg Variations from J. S. Bach recordings (1955), interview with Glenn Gould about his last recording of the piece (1981). Sound and video editing: Albert Quesada.

A production of Albert Quesada. With the collaboration of Consell Nacional de la Cultura i les Arts-Generalitat de Catalunya and nadine. Residencies: BUDA Kunstercentrum, Centre Cultural de les Corts and Àngels Margarit/cia. Mudances studio. Sponsored by Cia. Búbulus – Carles Salas / La Caldera

+ info: http://veraalbert.wordpress.com

PROJECTS PRESENTATION – IPAM 2013

The selected companies were the following:

La Veronal – Islandia

La Veronal_Islandia_© Tristán Pérez

One of the main failures in the history of western thought is the relation between image and idea, where the former depends on the latter. Visual has got on top of conception. We can only leave the image behind by corrupting it and then walk towards a new truth. Islandia is a reflection of the relation between signifier and signified, on the bons created between the image and the conception it evokes. It is based on the mechanism of reproduction and representation of a concept, word, text, image or song, which are directly associated to a meaning that can go beyond to a new reality.

La Veronal is directed by the choreographer Marcos Morau and formed by artists coming from diverse art fields. The search for new ways of expression and a powerful narrative language are the main signs of the awarded company. Recently it has created a piece for the Cross Connection Ballet of Copenhagen and has been invited to create for the Swedish companies Norrdans and Skånes Dansteater, and also for the Compañía Nacional de Danza. It is creating a decalogue where each piece’s background takes as a starting point a country or city in the world, creating an analogy between dance and geography. It already counts with titles such as Siena, Islandia, Rússia, Finlàndia, Maryland and Suècia.

Direction: Marcos Morau. Choreography: Marcos Morau in collaboration with the performers. Performers: Lorena Nogal, Inma Asensio, Sau Ching-Wong/Cristina Goñi, Manuel Rodríguez/Xavi Auquer, Tanya Beyeler. Choreography assistant: Lorena Nogal. Dramaturgy and texts: Pablo Gisbert-El Conde de Torrefiel. Space and light design: Enric Planas & La Veronal. Music: various Icelandic artists. Pictures: Tristán Pérez-Martín. Video: Edu Pérez. Costumes: Soffía Ósk Stefánsdóttir. Production: Juan Manuel Gil.

With the collaboration of Roberto Fratini, Mercat de les Flors, DeVIR/CAPa Centro do Artes Performativas do Algarve and  Graner Centre de Creació. With the support of d’INAEM-Instituto Nacional de las Artes Escénicas y la Música and Departament de Cultura-Generalitat de Catalunya.

+ info: www.laveronal.com

Societat Doctor Alonso – Introduction to introduction

Societat Doctor Alonso_Introduction to introduction

What moves the tissue?
The air / The fan
What moves the tissue?
The fan / The music
And what moves the air?
The tissue?
Who moves Nina Simone? …

Societat Doctor Alonso is directed by the theater director and dramaturgist Tomàs Aragay and the dancer and choreographer Sofia Asencio. The company has built his own language. A key factor if it is the concept of movement, by placing something outside of its place or own space in order to investigate how this movement modifies language. This action of moment has shown itself to be an efficient tool for creating areas of poetic discourse which question our standarised understanding of reality.

Direction: Tomàs Aragay. Creation and performance: Sofia Asencio. Scenography and lightning: CUBE.bz. Production: Sònia Isart. Distribution: Iva Horvat.

With the collaboration of BUNKER, L’Agora de la Danse and Teatro Pradillo. With the support of Generalitat de Catalunya and INAEM.

+ info: www.doctoralonso.org

  Eulàlia Ayguadé – Little Me

Eulàlia Ayguadé_Little Me

“Brick”… the representation of a compact object, without dynamism, except when somebody throws it to your face. But… have you ever been locked in a room in the company of some bricks? For sure, two days after, you will have the feeling they are looking at you, and you look back at them. They are not as useless as you thought, they are very consistent with their ideas, they are there to help you, to share, and you perceive their strength, their weight, their risk, but their weakness too. You realize how easy it is for them to break and become dust, nothing. They are a little metaphor of people. Three performers try to interact with these bricks throught precision, detail, quickness and balance in order to build and understand and, thus, build their own little world.

Trained in music at the Liceu and the Barcelona Conservatory, and in dance at Barcelona’s Institut del Teatre and P.A.R.T.S, Eulàlia Ayguadé has danced with several companies and choreographers, such as Akram Khan, Roberto Olivan and his company Enclave and Hofesh Shechter, among others. In addition, she has also created her own pieces, such as the solo Silenci, where she was assisted by Wim Vandekeybus, the duo Zomm In, with Radek Hewelt, and the piece Twice read, with Anton Lachky (a founder and member of Les Slovaks). She is one of the most prominent Catalan dancers on the international contemporary dance scene. In 2010 she was nominated outstanding dancer at the London Critics’ Awards.

Artistic direction: Lali Ayguadé. Choreography and performers: Lali Ayguadé, Joan Català, Kin Young Jin. Music: Josep Baldoma.
A co-production of Mercat de les Flors. With the support of Mercat de les Flors, Akram Khan Company, Tanzhaus NRW
Düsseldorf and La Caldera. With the collaboration of Graner Centre de Creació (residency).

Roser López Espinosa – Lowland

Roser López Espinosa_Lowland_© Alfred Mauve

Fascinated by the migrations of birds, we long to learn to fly. Lowland returns us to the animality of the body and movement, to learning, effort, tenacity and endurance, to beauty, the spirit of self-improvement and the spirit of freedom. Lowland is the landscape and the journey. We can only fly with our bodies and we will need inventiveness and imagination in order to get a pair of wings. An imaginary world of birds and men, full of light and vitality in the low land.

Roser López Espinosa graduated in contemporary dance at the Higher School of Arts in Amsterdam and trained with former Olympic gymnastics coach Jaume Miró. In The Netherlands she has danced with Katie Duck’s Magpie Music Dance Company, Marta Reig Torres and Pere Faura. In Barcelona she has worked in particular with Àngels Margarit/Cia. Mudances and with Cesc Gelabert and Iago Pericot, among others. Since 2006 she has created her own work (The lizard’s skin, Còncau II, Miniatura…) which won international recognition with awards at Masdanza, the Burgos-NY and Madrid choreography competitions and had been performed in Europe, Egipt, Canada and Japan. In 2013 she premiered Lowland, in co-production with Mercat de les Flors in Barcelona.

Concept and direction: Roser López Espinosa. Creation and performance: Guy Nader, Roser López Espinosa. Original score: Ilia Mayer. Light design: Katinka Marac. Movement assistant: Maria Campos. Dramaturgy advice: Raquel Tomàs, Maria Campos. Costumes: Lluna Abert. Zoetrope: Noemí Laviana. Artistic accompaniment: Àngels Margarit. Technicians: Katinka Marac, Israel Quintero. Production: L’escènica-Elclimamola. Management: Marine Budin/Elclimamola.

A co-production of Mercat de les Flors. Created in residency at Graner Fàbrica de Creació, La Caldera-Centre de creació de dansa i arts escèniques contemporànies and Àngels Margarit/Cia Mudances, L’Estruch, KREA/Azala and LSD Movement/ Losdedae as awards of Certamen Coreográfico de Madrid/Paso a Dos, Melkweg Theater and Dansateliers.
With the collaboration of Departament de Cultura de la Generalitat de Catalunya

+ info: www.roserlopez.com

Umma Umma Dance & Manuel Rodríguez – Stuntman/Loser Kings

Stuntman ©Guido Sarli

Double bill by Umma Umma Dance and Manuel Rodríguez which includes Stuntman and Loser Kings. Stuntman is the latest creation of Guido Sarli, a solo performed by Ares D’Angelo. The piece will be premiered on 19th October in the framework of Sâlmon Festival at Mercat de les Flors. Loser Kings emerges from the collaboration between Umma Umma Dance and Manuel Rodríguez. The piece has been awarded in various international contests (Masdanza, Madrid, Burgos and Copenhagen) and has been selected by Aerowaves Dance Across Europe 2013. It investigates the location of the genuine, primitive essence of man, viewing the inside of the body as an allegorical prison for the individual.

Umma Umma Dance is a company directed by Guido Sarli. Since it was formed in Barcelona in 2010, it has been invited to several international festivals. Its pieces have won several choreographic prizes. In 2012 it collaborated with Manuel Rodríguez to create Loser Kings. Manuel Rodríguez is a freelance performer and choreographer. He has worked with companies such as Provisional Danza, La Veronal and Sharon Friedman, among others. His creations have been awarded in several choreographic contests and presented in internacional festivals. He currently works with James Thiérrée and in his own solo project, Savescreen.  

Stuntman – Direction and choreopraphy: Guido Sarli. Performer: Ares D’Angelo. Light design: Horne Horneman.
A production of Lalavanderia. With the collaboration of Graner Centre de Creació, Mercat de els Flors, Centro Coreográfico de La Gomera, La Caldera, Festival Sâlmon, Auditorio de Tenerife, Paso a 2 Plataforma Coreográfica and Fienile Fluò Bologna.

Loser Kings – Direction and choreography: Guido Sarli and Manuel Rodríguez. Dramaturgic advice  Georgina Oliva, Pablo Gisbert. Performers: Xavi Aluquer, Ares D’Angelo, Lautaro Reyes.
A production of Lalavanderia. With the collaboration of Graner Centre de Creació, Mercat de les Flors, Centre
Cívic Barceloneta, Festival Escena Poble Nou, Centre Cívic Can Felipa, Centre Cultural
La Bòbila, L’Estruch, Festival Per Amor a l’Hart and Festival Sâlmon.

+ info: http://ummaummadance.com  // http://aboutmanuelrodriguez.blogspot.com.es

CONTRAPUNCTUS Danceport – Full Evening

FULL EVENING

How does the way we perceive and experience a piece of dance depend on what are we hearing? This is the key issue explored in a proposal which looks at how music, noise, the soundscape and, even silence, modifies and changes our perception of what we are looking at and, in fact, of everything that surrounds us.

Founded in 2005 by Claudi Bombardó and Nora Sitges-Sardá, CONTRAPUNCTUS Danceport has presented since then works such as 40 cadires/unplaced, DOS, STILL HOUR and REVOLVER/identi(c)tats. Claudi Bombardó has trained at Institut del Teatre in Barcelona, John Cranko School in Stuttgart and the Heinz Bosl Stiftung in Munich. He has danced with the Vienna Opera and choreographed for international companies such as Tanzkompanie der Oper Graz and abcdancecompany. Nora Sitges-Sardà has pursued a notable international career and worked with choreographers such as Duato, McGregor, Forsythe, Kylián and Fabre.  She is currently vice-director and artistic assistant at the Gärtnerplatz Theatre in Munich.
 
Concept and idea: Claudi Bombardó, Nora Sitges-Sardà. Choreography: Claudi Bombardó together with the dancers. Performers: Iratxe Ansa, Laia Duran Fígols, Emanuel Gázquez, Nora Sitges-Sardà, Maxime Ianarelli. Music: Several authors. Set design: CONTRAPUNCTUS Danceport in collaboration with Adrià Pinar. Costumes: CONTRAPUNCTUS Danceport in collaboration with Mari Simón. Light Design: Claudi Bombardó, Cristina Conde Eujen. Sound concept: Claudi Bombardó, Jordi Salvador. Technical head: Cristina Conde Eujen. Sound technician: Jaime G. De Vinuesa. Photography: Àlex Rademakers, Josep Aznar.

A dance piece created by CONTRAPUNCTUS Danceport. Co-produced by Festival GREC 2012.

+ info: www.contrapunctusdanceport.blogspot.com

Roberto Olivan/Enclave Arts del Moviment – A place to bury strangers

Roberto Olivan_A Place to... © Jesús Robisco

A place to bury strangers is a way back home to what each one would consider essential. Discovering a more austere way of dealing with society and relationships, a kind of partial death. Finding the place where we belong, home from home, where we feel rich without any money, where we feel connected with everything and everyone.    
 
After training at the Institut del Teatre in Barcelona, Roberto Olivan moved to Brussels, a key city for his training and professional career. He studied at P.A.R.T.S. and began dancing professionally with Rosas Dance Company in titles such as World Drumming and Achertland. He has created for Rosas and Needcompany, among others. In 2003 he founded his own company, Olivan Enclave Dance Company, and staged De Farra and Homeland. He currently leads the company Enclave Arts del Moviment. He has also directed the International Contemporary Dance Workshop Deltebre Dansa since 2004 and gives courses at various schools and centres worldwide.  

Creation and performers: Spela Vodeb, Sol Vázquez, Felipe Salazar, Roberto Olivan, Matias Marré. Dramaturgy: Roberto Magro. Music: Laurent Delforge. Light design: Manu Martínez. Costumes: Roberta Petit. Management and diffusion: DROM/Carmina Escardó.

A production of Mercat de les Flors and Enclave Arts del Moviment. With the collaboration of TRANSVERSAL, xarxa d’activitats culturals. Special thanks: Guillem Albà.

+ info: http://robertoolivan.com

Cuauhtémoc Nájera – Programmers IPAM

We continue the series of posts inside our international resource selection. They are testimonial videos of the programmers assistants to the IPAM (International Performing Arts Meeting) within the Festival Barcelona Grec 2013. Through each video you will be able to know the programmers and the festival or the artistic platform where they comes from. We hope that it will be a help in configuring a international map of contacts i resources for the creator.

5# Cuauhtémoc Nájera, from Instituto Nacional de Bellas Artes de México – Red Nacional de Danza.

Cuauhtemoc Nájera · Programadores · IPAM 2013 from granerbcn on Vimeo.

Samme Raeymaekers – Programmers IPAM

We continue the series of posts inside our international resource selection. They are testimonial videos of the programmers assistants to the IPAM (International Performing Arts Meeting) within the Festival Barcelona Grec 2013. Through each video you will be able to know the programmers and the festival or the artistic platform where they comes from. We hope that it will be a help in configuring a international map of contacts i resources for the creator.

4# Samme Raeymaekers, from Concertgebouw Brugge and December Dance Festival

Samme Raeymaekers · Programmers · IPAM 2013 from granerbcn on Vimeo.