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OSTRO: LIVE ARTS SERIES

OSTRO

Picture: Sue Ponce.

Ostro is the name of a southerly wind, a hot and humid wind that in most cases doesn't blow for very long.

This live arts series kicks off in March like a warm breeze, bringing the meaning of the body to the museum’s galleries.

Once a month, different performing artists will be invited to develop a proposal in the museum space of their choice to involve the building’s architecture in the flow of movement, body and audiences.

Throughout the year, a series of performative proposals will be held in different parts of the museum. We want to forge bonds between dance, performance and the museum space, connect the creative processes of performativity, and enjoy diverse formulas that explore the body and its possibilities in the museum to generate a permanent space where movement is the protagonist.

Candela Capitan

SOUND CELL

11 JUNE 7:00 pm. Candela Capitán
In conversation with the exhibition Ría by Jorge Satorre.

Sound Cell is a performance by Candela Capitán that explores the female body as a territory of oppression through dance and two devices that condense traditional and contemporary forms of surveillance: the cowbell—used in livestock husbandry to locate the cattle—and the algorithm—the opaque engine organising visibility, desire and behaviour on digital platforms.
Sound Cell suggests a critical reflection on how these digital mechanisms—often viewed as tools of freedom or self-expression—reshape our relationships and condition the construction of sexuality and eroticism in virtual environments.
The performance space turns into a vast digital production farm, where the artist and spectators actively participate in generating content without being entirely aware of their role in the process. The soundtrack is composed in real time through the interaction between the sound of the cowbell and the audience’s engagement with the live broadcast.

Candela Capitán

CANDELA CAPITÁN  (Seville, 1996) is an artist and choreographer whose practice lies at the intersection of performance, the live arts and digital languages. Her inquiry starts with the body as a critical device for analysing the mechanisms by which social bonds are constructed, as well as the dynamics of alienation, uprootedness and emotional emptiness which permeate contemporary societies, especially in hypermediated contexts.
Using an interdisciplinary approach, her works examine the relationships between body, object and collective image to articulate choreographies, installations and performance actions that shed light on the tensions between control, desire and representation. Her practice is marked by an insightful reflection on female sexuality, contemporary regimes of visibility and devices of desire. Via the strategic use of voyeurism and digital exhibition platforms, Capitán proposes a radical rethinking of the ways the body is displayed, regulated and consumed in the public and virtual space.

Candela Capitan

 

BODY IN RIVER

7th MAY 19:00. Poliana Lima
In conversation with the exhibition Ría by Jorge Satorre

Body in River is a performative action created for the CA2M Museum in dialogue with the exhibition Ría by Jorge Satorre.

The idea behind the work presented by Poliana Lima is grounded on the relations and potential tensions between materiality and representation, a tension found in the Jorge Satorre exhibition with which Poliana’s body engages in dialogue.

Just as objects and artefacts have their uses and possible fields of meaning, the body is also constantly under tension, the tension of being matter, that is, flesh, liquids and sounds, which, in turn, have their uses—behaviours and codes—determined by the contexts in which they are framed. Thus, the body of the museum, the body of the visitor, is not the same body as the body of the theatre or the body of a festival.

Lima uses the elements of the body to build a choreography-route, a choreography-river through the exhibition in which the body is transmuted from the most everyday thing to the most alien: towards its materiality.

‘I visited Jorge Satorre’s show Ría. I am inside River and impacted by its materiality. My body is inevitably enveloped by Ría.

I read the interview with Satorre and at some point he mentions that his sculptural pieces are articulated in an oscillation between fulfilling a productive purpose and no longer doing this.

My body in Ría also has the opportunity to oscillate between its doing—behaving with its productive functions and no longer doing this.

Body in River aims to question these purposes. What is the solidity of a body?’

IDEA AND BODY: Poliana Lima

SOUND SPACE: Miguel Álvarez

 OstroCrédito: Poliana Lima

 

BIO OF POLIANA LIMA’S COMPANY

Poliana Lima is a choreographer, dancer and teacher. Trained in sociology at UNICAMP (Brazil), she synthesises pathways in the body and makes them the core of her expression and inquiry. She creatively explores the possibilities of creating poetics onstage capable of communicating with the audience in a simple yet profound way. Topics like identity and memory are recurring in her creations, joined by the relationship between creation and pedagogy, which she considers an essential part of her work as an artist.

In the past fifteen years, Poliana has created eight long and six short works and dance projects. She has been an associated artist with Condeduque—Madrid (2018–2020) and has received support from Teatros del Canal, CND—Pantin, Festival Dias da Dança—Oporto and Aerowaves, among others.

 

CANTO A LO POETA. PRINCIPLE: FOR THE END OF THE WORLD.

26 MARCH 19:00. Javiera de la Fuente. 

Second floor. (Work in progress, 40 minutes). // Free admission on a first come, first served basis

Like a new continent of movement experiences, CANTO A LO POETA refers to a popular tradition of Chile that consists of improvising, singing, establishing dialogues and creating poetry, a hybrid legacy of the Spanish colonisation. Based on this premise, Javiera is organising encounters with female  artists and thinkers who use a contemporary language to establish dialogues with the poetic, sound and performative traditions of southern America and southern Spain.

"For the end of the world” is one of the topics or key principles on which poets reflect and declaim. Rethinking, saying and moving the end of what we know, shouting about the fall of failed power structures and, above all, proposing new ways of acting and imagining. During the intervention at the Museo CA2M, the interaction will be with the edges of Jorge Satorre’s exhibition.

In this context, Javiera pursues her research into some of the materials she has worked with in recent years: flamenco as device and language, the danced word, the voice as an extension of the body and memory, territory (and also the body) as a space enclosed yet simultaneously impossible to demarcate. A perpetual essay on how to recognise borders, and how to cross them. This cross-border subject has a southern perspective. A body that has come from the south of the south, given the world order, says and dances within imposed and imagined margins, liquid, migratable margins, sensitive fields that select and archive while forgetting and discarding to survive. After all, this is a ballad, a fondling of information, images, temporalities and references: What can bodies say/sing about things that happen... and about things that vanish? In the face of intuited (or certain) unsustainability, of imminent death... what would the last dance be? How would it look? And to save ourselves, would we dance together?

Javiera
 Javiera de la Fuente at Espacio Creativo Azala. Picture:  Jorge Ferreira. Cortesía de la artista.

JAVIERA DE LA FUENTE LLOVET

(Santiago de Chile, Seville) Trained in traditional and contemporary Sevillian dance, Javiera made her debut at the Jerez Festival in 2013 and has since danced on iconic stages and emblematic clubs and flamenco venues all over the world.  Since collaborating in the Máquinas de Vivir project of Pedro G. Romero (2014), she has been working with languages closely related to performance, in non-conventional contexts and spaces. This has led her to unite critical thinking and dance into hybrid formats. Her most recent collaborations are the video Las Trabajadoras at the Museo Reina Sofía (Madrid 2021–22) and the performance Subir y bajar escaleras (MACBA 2022, IVAM 2023).

She also performed her dance lecture El Drama de una Realidad Sur at El Dorado and the Museo de la Virreina in Barcelona (2019). In 2020, together with the visual artist Isaías Griñolo, she premiered the flamenco artefact Luciérnagas at Tabakalera, Donosti (2021). In 2022 she directed and performed the piece Budapest 1934 at the Seville Flamenco Biennale. In 2023 she performed her show Envioletá at the Nîmes Flamenco Festival, which she had previously staged at the Museo Reina Sofía (2022), Centro Federico García Lorca (2022), Museo Carmen Thyssen in Málaga (2023 and 2024), Wadi Festival in Córdoba (Dec. 2023) and Centro Cultural Ex Hotel Royal in Valparaíso (Chile, 2024), among other venues. In 2024 her performance Exordio featured in the Aprendices Errantes exhibition by Cristina Mejías at Patio Herreriano (Valladolid). Her latest project is CANTO A LO POETA, in reference to a traditional form of poetry in Chile. She staged a work-in-progress version for the Ecologías de Paz exhibition of the Fundación TBA21 at C3A (Córdoba, 2024).

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Activity type
Performance
Target audience
Anyone interested
Duration
ONCE A MONTH
Dates
26th march
SOUND CELL
Event Date
-
BODY IN RIVER
Event Date
-
CANTO A LO POETA. PRINCIPLE: FOR THE END OF THE WORLD.
Event Date
-
Access
Attendance open and free while places last
More information and contact
912760227
ca2m@madrid.org