Mabel Olea

Mabel Olea is a dancer and choreographer. She trained at the Conservatori Superior de Dansa of the Institut del Teatre in Barcelona, with a double focus in Choreography and Performance. She was nominated for the 2024 Butaca Awards and won the 2024 Dansacat Award for Best Dance Performance, as well as the 2024 TimeOut Award for Best Emerging Artist. Since graduating from the Conservatory, she has been continuously developing her creative work, refining her style and her infinitely adaptable body to explore themes of love and clumsiness in JAPAN (2020), the city and its different forms of interaction and expression in THE BIG CITY, a multipart piece that began in 2020 and continues to the present, and beauty and the grotesque in CUT ONE’S TEETH (2026)… as well as other performances and small-scale works that contribute to the creation of a diverse and expansive creative world.

In addition to her work as a creator and movement director for other projects, she has collaborated with nationally and internationally recognized artists such as Marie Gyselbrecht (Peeping Tom) in Nest, Marta Pazos in Comedia Sin Título and Orlando—in the latter serving as movement director—, Núria Guiu in Supermedium, Javier Ambrossi and Javier Calvo in La Mesías and La Bola Negra, and Chapters of Celebration by Benjamin Abel, a production co-produced by the International Arts Centre DeSingel and the biennial art festival Europalia.

@mabelolea_

Latest project in residence

CUT ONE’S TEETH (2026) comes from the English idiom “to cut one’s teeth,” which refers to learning something from scratch, gradually gaining experience until mastering it. The phrase evokes the image of a baby’s teeth breaking — cutting — through the gum. From this rupture arises the idea of staging my body in an honorific celebration, linking my image to that of a diamond to represent the transformational journey from a rough diamond to a polished one.

It is an exploration of perfection and beauty, where I examine how these attributes can be attained by transferring their meaning to new conceptions of the beautiful and the perfect, touching on the grotesque when taken to the extreme. Through a precise movement proposal, drawing from the imagery of dance and the classical ballerina, I sculpt the body as if it were a diamond cutting itself, questioning traditional canons and opening a space for the ambiguous, the grotesque, and the relational. Quoting Byung-Chul Han: the salvation of beauty is the salvation of the relational.

Graner Residency Archive

  • 2026 · With Mercat de les Flors · CUT ONE’S TEETH