Performance Biennial: when choreographers and stage creators fill the stall
In the different editions of the Biennial of Performance, stage creators (that wide range that brings together choreographers, performers, theater directors and playwrights linked to experimental searches) have always had an important role in the curatorial line of this meeting directed by Graciela Casabé. In fact, in the first edition of 2015, the choreographers Luis Garay, Diana Szeinblum and Juan Onofri Barbato were invited; the visual artist Osías Yanov; and the directors and playwrights Marina Obersztern and Fernando Rubio.
In the current edition, which began in November, they have already gone through this meeting curated by Maricel Álvarez, Requiem, the proposal of the Krapp group directed by the choreographer Luciana Acuña; Y Toborochi, the work of Javier Bustos, Jorge Crowe and Leticia Mazur, which was an action sound, physical, visual and spatial, in the Rubén Darío square. But from next Saturday, in a new stage of the same Biennial, the scenic, the body itself, take center stage.
The choreographer and dancer from La Plata Ivan Haidar will present I am your performer. In this case, her body is offered as a material to be intervened by creators who come from the field of visual arts, living arts and performing arts. For five hours, Iván Haidar, whose proposals are usually part of important international festivals, will be at the disposal of Ariel Farace, Diego Velázquez, Mayra Bonard, Nayla Pose, Gustavo Tarrío, Antonio Villa and Camila Malenchini. Each “facilitator” will have a certain amount of time to do a test with the performer, who, during the time of hard quarantine and streaming, has already had a similar experience. “I don’t know what is going to happen, I also wonder,” the creator confesses in dialogue with LA NACION. The issue is to be available to the proposal made by each of the facilitators and to do a kind of translation at the time. There is something interesting in relation to the fragility and crudeness of the present, of putting everything in that moment, of the unfinished. There were no rehearsals, only conversations with each of them to agree on some aspects of the proposal. At some point, it’s like a shared game, a communication experience.” I am your performer It can be seen this Saturday and the next, from 3:30 p.m., in the Casacuberta room of the San Martín Theater.
Some notes to invent other worlds will be the proposal of the company La Mujer Mutante, directed Victoria Roland Y John Coulasso, the same creators who premiered the disturbing performance in 2017 The world is stronger than me. In this case, the proposal will take the form of a walk guided by a voice from the future that will try to stain the landscape with presences that still persist and hallucinations in gestation. Something of this type of experience Coulasso had already investigated when he presented Meat and bone, a wonderful experience that started from his room in Chacarita (currently, his room, Roseti, moved to Abasto) and culminated in the Cemetery. This new urban expedition will last about 120 minutes and it is recommended to wear comfortable shoes, insect repellent, a cap, a bottle of water and even a loaded SUBE. It will go on the 27th, 28th, 29th and 30th of this month, at 5:45 p.m. The starting point is at the Retiro Station, Belgrano Norte line, and it will end at Ciudad Universitaria. “I think it is a nice expedition. Not only are the landscapes incredible, but something special is put together related to our previous works and, at the same time, very different. That is something much more performative and less theatrical”, he admits.
Yegua-Yeta-Yuta, from Mercedes Azpilicueta, an Argentine artist who has been living in the Netherlands for six years (she alternates her center of action in Rotterdam and Milan), has a performance by Carla Crespo, whose previous stage work was Beya Durmiente (DJ Beya), a praised proposal that, precisely, Victoria Roland directed. The solo contains a scripted part and an improvised part composed from a litany of hundreds of pejorative, abusive and vulgar insults directed at women in our country. It will be seen on February 4 and 5, at the Museum of Modern Art.
For her part, the dancer and choreographer Andrea Servera, the same one that directed the Combined Argentino de Danza for years, will arrive with Micelias to the mouth. “We are a small hallucinated crowd. We are trava garden delights, non-binary flowers, persistent weeds that contaminate everything. We get entangled, we connect, we create useless and unproductive fictions: it is our strategy to stay alive”, says this kind of manifesto by a group defined by diversity. This personal work will be presented on February 13 and 20, at Proa 21. And with regard to this sector of the Biennial’s programming, which will conclude in mid-April, the visual artist Mercedes Azpilicueta and the director and playwright Agustina Munoz will present The Inner Wing Nurses, sound and vocal piece that seeks to be a tribute to the seamstresses, cooks, laundresses, ironers, kitchen helpers, housekeepers and domestic employees of the houses of the families of the oligarchy of the late nineteenth and early twentieth centuries.
Important fact to get on the Biennial of Performance roadmap: all activities are free with prior registration from one week before at the meeting page.