CA2M Centro de Arte Dos de Mayo


23, 24 & 25 JANUARY 2019

Acento is a programme associated with Artists in residence, a project organised jointly by La Casa Encendida and CA2M Centro de Arte Dos de Mayo, whose goal is to support creation and experimentation focused on performative work with the body.


During this three-day event some of the projects conceived and developed during the 2018 programme will be presented and a meeting place will be facilitated with the artists in the 2019 programme. Over these days the two organising institutions wish to place the accent on ideas that arose during artistic experimentation using the body, understanding it as the social body and a political construct that produces knowledge through the senses.


The artists selected in 2018 were: María Salgado & Fran MM Cabeza de Vaca; Esther Rodríguez-Barbero; David Benito, Irene Cantero & Víctor Colmenero; Javier Marquerie Thomas; Oihana Altube & Javier Vaquero; Twins Experiment, and Aniara Rodado and Óscar Martín.


In addition, Agua de Borrajas, along with the resident artists in Acento, have produced a publication that will be put together at the end of the three days. Each part will present their piece, and together they will make a Manual of Instructions that wishes to put the body of the actions to the test at home.


Agua de Borrajas is a publishing project supported by CA2M‘s Department of Education and the Roma printers.

Wednesday 23 January
At La Casa Encendida
19:00: Esther Rodríguez-Barbero: GUIDE TOUR
Guide Tour is not a guided tour. It is more of an inhabited visit or a spatial walkthrough or perhaps just an encounter with what you don’t see, with what is behind, with what we still cannot name.


Why is this as if it were chipped? Is it meant to be like this? Is it an intervention? What is it?
This is because plastics rot over time, it is because a cavity is produced which generates more heat and they rot quicker. Most plastics start to sag because they expire at ten years, and we are in year eleven.

This is kind of metaphorical.
Has nobody spoken to you about the defects of the building?
There is beauty in the defects. The beauty lies in the defects.
Let’s look for defects.
The little things you have to look at twice.

Esther Rodríguez-Barbero. Stage designer, performer and architect. Her work is situated between choreography, theatre and architecture, and lately she is dedicated to designing spatial practices.

20:00: Aniara Rodado: Notation and transmission of the movement of rue
This project is based on the notation of the movement of ruta graveolens, commonly known as rue, recent investigation into the senses of plants and their biological abilities to adapt their metabolism to environmental changes, which are all woven together in non-anthropocentric speculative narratives.

The dance takes place within an installation that allows for successive atmospheric changes. We want to touch the skin of the audience, to create a climatic theatre where analogue and digital technological devices generate spaces that enrich and transform our sensorium and therefore our perception of our environs.

A feature-length film focusing exclusively on rue is a work of light and image. It is based on the time-lapse used to analyse the movement of rue, as well as our experience of coexisting with it. The human dance is structured around the temporal fissures that exist between plant life and human life.

Aniara Rodado is a choreographer, artist and researcher. From a transfeminist viewpoint, Aniara explores witchcraft and trans-species relations, taking the plant world as her point of entry. Her practice revolves around issues pertaining to presence, representation and the standardisation of different types of bodies, alliances and various forms of life, in the current context of ecological crisis and techno-scientific fetishisation.

22:00: Javier Marquerie Thomas: EXTRAOCEANIC
Enervated by the spread of conservative leaderships, by the lack of institutional support for minorities that do not fit in with the white-Christian patriarchal narrative, by the disappearance of concern for climate change, queer and allied communities all over the world decide to join together in search of another place where we can live. In this gaze on the future, gender is transgressed and posthumanism becomes ubiquitous. Admiration for creatures from the deepest abysses of the ocean, encourages us to join them and undertake our own metamorphosis into the Extraoceanic species. For a period of time we live our queer utopia in those dark violet depths where the sun never reaches, but where, after many years feeding off rocks and plastic microfibers, our conscious life ended, leaving our bodies of plastic in an eternal existence.

Plastic was a key turning point in history, marking a before and after in what we call the Anthropocene. It is remembered as the great disaster for the environment, fruit of the irresponsibility of the human race. Plastic will be remembered as the cause of the destruction of our species. Plastic was our great hope, it produced a sense of community, it was what bound us together. We are diethyl phthalate, we are lead, we are cadmium and we are mercury. We are plastic. It belongs to us and conditions our existence. We are an eternal queer body, a hyperobject on the road to a certain future.

Plastic character: written by Joseph Craig and performed by Sian Thomas.
Texts: Javier Marquerie Thomas.
Music and sound space: Carlos Gárate.
Costumes: Chromosome Residence.
Make-up: Crystabel Riley.

Javier Marquerie Thomas works primarily with video, performance and installation. At the current moment, he is exploring genetic changes that take place in the body when gravity is inverted, in search of a new semantics of movement, an investigation that began during an annual residence at Aikas Zado Laboratory, in Zeimiai, Lithuania. His works have been seen internationally and are included in the collections of Sul Ado Malagoli (Brazil), University of Cadiz and Pro Helvetia Arts – Ministry of Culture of Switzerland. Marquerie Thomas has exhibited his work in group shows at PhotoEspaña, at Centro Cultural de la Villa and at Ivory Press Space, and in solo shows at La Fabrica and Galería Cero. He won the AUPA scholarship from Blankpaper and was shortlisted for the Mack photobooks award. He currently teaches and directs at the department of video and photography at Brampton College, London.

Thursday 24 January
At La Casa Encendida
17:00 Oihana Altube and Javier Vaquero: ROJO PANDERETA
Rojo pandereta (Red Tambourine) is a dance creation whose main frame of reference is Cervantes’s novel “Don Quixote” (1605-1615) and the “Don Quixote” Ballet by the choreographer Marius Petipa in 1869 at the Bolshoi Theatre of Russia. A framework within which we can reflect and create choreographic material on the forms of (implicitly and explicitly) registering History/story and how these affect the future becoming of bodies in space and in time: dance.

This process of creation is born from a desire to question the choreographic paradigms that, as dancers, have cut across and constructed our corporal (national, gender, race and professional) identities throughout our careers. And to evince that dance, as well as being an aesthetic manifestation, has also served and serves to register ideologies, identities, emotions, symbolism and physiologies of bodies; and that, at once, it is a means of political, social, cultural and economic constitution.

Javier Vaquero and Oihana Altube are Iberian dancers with bodies that have performed classical dance, Graham, Flying Low, Relehase, Macarena, Pilates, Authentic Movement, Western Yoga, Chiro-massage, Character Dances, Horton, Body Mind Centring, Feldenkrais, Neoclassical, Forsythe, Jazz, Aerobic, Aurresku, Sevillanas, Voguing, Cunningham, Real Time Composition, Dance Movement Therapy and Sardana, among others.

Friday 25 January
20:00: Twins Experiment: everlasting softness
everlasting softness is the third project by Twins Experiment in which we wish to propose and bring about a soft space to exercise listening to matter and its agency; a fictional sensorial space where all bodies have the same importance and matter can be used to materialise the third thing produced by two.

The practice we have been developing involves our bodies and their relationship with soft materials. We chose these materials because we believe that their singularity is closely related with some core concepts of our work as a collective: porosity, flexibility, affectation and mutability; as well as some characteristics of present-day society in which our lives have a liquid quality, which is to say, they do not maintain the same form for much time.

How should our bodies move to be accompanied by material? How can we respect the singularities of each body? What is this ecosystem that is being created?

Ainhoa and Laura. From Madrid. Twins. They were separated at birth and found each other again in 2014. Together they are Twins Experiment. Together they make playlists, lists, plans, collages… Together they make pieces, they dance, sleep, dream up games and sometimes they share an apartment. Twins are two and are a collective. They work with affectivity, telepathy and horizontality. Being Twins means that they can take risks they would not take on their own, together they become superheroes.