http://www.carlosmariaromero.com/ghl daily 0.75 2014-11-25 https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1416884535056-5PGEM1J6SU6E9BB45OM0/YE_Parknight-54.jpg GHL https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1416884406097-AO0W82PF34V5NUGW4XJ0/YE_Parknight-53.jpg GHL - GHL Artist George Henry Longly works across several media to explore issues in architecture, composition and design. For Park Nights, Longly creates a specially-commissioned performance evening reflecting on the concept and structure of the Serpentine Gallery Pavilion 2013 designed by Sou Fujimoto. Entitled GHL, Longly’s performance borrows from the structure of a fashion show. Choreography: Carlos Maria Romero Styling: Max Allen, Make-up: Thom Walker Performers: Jermaine Ampomah, Joe Bishop, Heather McCalden, Fergus McIntosh, Jamie Neale, Melika Ngombe, Max Percy, Max Schumacher, Thomas Snee, Adelene Stanley and Alice Tatge. 20th September 2013, 8pm Photos: Yousef Eldin https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1416884790124-0Z9CKAHV4J7FSP2RYXHO/YE_Parknight-44.jpg GHL https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1416884283648-4CC55K0LBEB397DCAWPK/YE_Parknight-43.jpg GHL More photos : http://salivastring.tumblr.com/post/63075238104/serpentine-gallery-park-nights-friday-20th https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1416884917347-XTX7P0515FEIREQY1POT/YE_Parknight-49.jpg GHL https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1416884535056-5PGEM1J6SU6E9BB45OM0/YE_Parknight-54.jpg GHL More photos : http://salivastring.tumblr.com/post/63075802364/serpentine-gallery-park-nights-friday-20th https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1416892799553-4VKUETNXTU2BAL04PFQP/YE_Parknight-51.jpg GHL https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1416885134484-0XXPS7VNNA6J4A53XFYQ/YE_Parknight-57.jpg GHL Snakes, fake fashion and the Serpentine pavilion: George Henry Longly interview London Evening Standard, 20 of September 2013 Hip artist-cum-DJ George Henry Longly is turning London’s most stylish pop-up space into a catwalk for one night only. He’s using the fashion industry to talk about the art world, he tells Ben Luke George Henry Longly is a name from the trendier corners of London’s art scene. He’s been carrying the tag of “one to watch” for a few years but this looks like his time now. He’s already featured in several group shows at top contemporary art galleries this year, from David Zwirner in Mayfair to Laura Bartlett in Bethnal Green, gone solo at the Laure Genillard gallery in the West End and, this week, he sticker-bombed Shrimpy’s, the hip restaurant in King’s Cross (on view until Sunday). Longly DJs, too, at the oh-so-provocatively titled Anal House Meltdown club night-cum-art show at the Vogue Fabrics club in Dalston, alongside two other artist hotshots, Eddie Peake and Prem Sahib. The trio, who feature in the ICA’s current subculture show at Selfridges, have also linked up with artists such as Anthea Hamilton and Nicolas Deshayes in a scene whose energy and camaraderie recalls the YBAs’ Nineties explosion. The 35-year-old Longly is wary of the labelling. “We’re all very close, and it’s something that people find interesting and want to highlight,” he says. “But from my point of view it’s about mutual respect, an appreciation of people’s work, alliances and just getting on with people.” We are sitting on a bench in the shade of trees overlooking Sou Fujimoto’s Serpentine pavilion. Longly, puffing on the occasional cigarette, is discussing his plans to transform the delicate, open cloud of white steel bars which proved a perfect place to relax over London’s long balmy summer for his Park Nights event tonight. The pavilion, he says, is an “amazing structure. I love it. And I like being able to climb on to it — it’s super interactive.” His idea for his one-off for the Serpentine — part of their regular series based on artists’ responses to the pavilion — is to put on a fashion show with a difference. “The fashion show is this intense period of theatre, performance, emotional response, movement, sound and lighting,” he says. “That was a good way for me to think about how to deal with this space, because it’s a pavilion anyway and fashion shows happen in these sort of places.” Fujimoto’s structure prevents a standard runway presentation. “I started to think that it could be more like a salon presentation of a fashion show,” Longly says. “Like the fashion shows from the Fifties, where models moved around a space, there was a voiceover and a critique and almost an element of pageantry.” So what’s the difference between his performance and an actual fashion show? “I’m trying to use the fashion industry to talk about the art world in some ways,” he says. “The garments and the models are one part of the experience but the other thing is this voiceover and the music soundtrack. And then there’s lighting, and there may be some atmospheric devices like smoke. “The whole thing is going to be a performance, quite clearly — it’s going to be oblique and I just hope it’s going to have some sort of message. But you’re not going to know until you experience it.” Although it’s a new departure for Longly, the performance links to his main theme — the meeting of art and everyday life, the sublime and the mundane. He doesn’t want to make cold and remote objects but to make a better connection with viewers by working with the stuff of daily life. His wall-mounted marble sculptures, which he calls posters, express this in arresting and often funny ways. He takes slabs of the classical material and, with a suggestive wink, pokes through or sets into the surface objects that suddenly seem phallic — everyday items such as pens of Touche Éclat make-up or the cans of Regaine hair growth product he uses (his blond hair is slightly thinning), or clubber-friendly canisters of nitrous oxide or “laughing gas”. He also makes plywood daybeds, partly inspired by minimalist artist Donald Judd’s furniture, but again subverted with unlikely objects, including beauty products, fruit and other works he has made, such as plaster casts of body parts (torsos and thighs). He sees them as being “somewhere between a piece of furniture, a plinth, a mood board and an analytical couch”. The clothes for the Serpentine performance are provided by fashion brand Cos and Longly sees them as an extension of his sculptures. “The way I cut through marble or push one material through another, I will be doing the same with their clothes,” he says. After the event, he adds, “we’ll think about these garments as artworks”. A frequent motif in Longly’s work is the snake, sometimes cut into the marble or stuck on mirrors in sticker form — an emblem of the power of symbolism and art’s ability to create strong emotion. Real snakes feature in his luxurious trailer for the performance on the Serpentine’s website, slithering through one of his sculptures. He sees the snakes as a kind of signature and they often accompany his initials, GHL, increasing the sense that he’s creating a branded output. “I’m not trying to be coy, I’m being quite frank that this is what I do. I am going to put my name on it,” he says. “People call me GHL as a joke, and my DJ name is GHL Please, so it’s just an abbreviation, like OMG.” You might expect Longly to be a Peckham or Shoreditch resident but he lives in Margate. “I have a bit more clarity there and fewer distractions,” he says. And though his boyfriend and most of his friends live in London, he says: “I can go away to Margate and get on with lots of work and come back.” Despite the sometimes whimsical feel to his creations, this is an artist with lofty ambition. “I want to create work that has the power to change your life at one extreme,” he says. “I want to make work about this moment, now, and making a marker for now. I want to undermine things and to be exuberant about other things. I think that’s all we’re trying to do as artists.” https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1416887148937-M3A8CAPGCTSDP6I6L5RJ/image-asset.jpeg GHL Documentation https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1416890579060-6UP7FCDTID8BX08PK6TV/image-asset.jpeg GHL https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1416884663857-2OK5TQLLQIRDB5SZ0KRD/YE_Parknight-59.jpg GHL George Henry Longly’s interview for COS on the 16th of September 2013. 1. Why have you chosen to work with the format of a fashion show? I have always been interested in fashion but I think the idea to do a fashion show seemed to me like the most obvious thing to do given that the venue was a pavilion - I can imagine a fashion show happening in this type of venue, a temporary structure in The Royal Parks. I feel comfortable borrowing on the structure of the fashion show to make such a large scale performance because it is a simple structure and you can do so much with it. It can also be traced back to the fact I did my masters at St Martins and the activity and production that was going on the other side of school had a real affect one. This intense creative labour and output that the fashion students were involved in sat in opposition to what was going on in my course - two very different working methodologies. I want to make a parallel between the output of this industry and the creative production at play in an artist’s work. As a creative industry, the fashion industry produces an enormous amount of new material every season, and drives tastes and opinions - trends come and go - trends from the past are picked up and re explored from a different perspective. Contexts change and new visual language is created. Its the same with art history. I have always aimed to deal with themes of cultural production: how do we go about producing an artwork, and what relationship does this have to other forms of production? 2. How do you think the 2013 Pavilion space will affect your performance? The 2013 Pavilion by Sou Fujimoto is a natural performance space – if you look at how people interact with it on a day-to-day basis, you notice how small sections of them become tableaux vivants without people even realising. To a great extent, the shape of the Pavilion will be defining in the choreography of the performance. I am working with choreographer Carlos Maria Romero on creating a set of movements that recall those of fashion shows throughout their history and how we can make the models represent the artworks but not in a passive way. There is a lot of attitude and in this performance. It been amazing working with Carlos. 3. Could you tell us about the different elements that make up the show? The process of developing this performance involved many different elements, from the creation of sculpture to working with dancers, who will play the role of the models. It also involved shooting a new film, that exists in the world as a precursor to the performance. In this film, which is an integral part of the Park Nights event I drew from the mood and visual language of fashion films. I produced a marble sculpture with water-jet cut-outs – in the film, snakes move in and out of these cut-outs in a musical crescendo accompanied by an original score by composer John Hannon. Here, the snakes stand in for the cultural products that I embed into my sculptures. In the performance, specially modified garments will become the surface through which performers – dancers – will become sculptures themselves. 4. How has your research influenced your approach to this performance? From the outset, I was interested in looking at workwear - gloves, uniforms: all garments that signify some kind of production and labour. So I did a lot of research into different forms of workwear, as well as the history and evolution of the fashion show. In the case of these Park Nights, COS, who are sponsoring this year’s series, have provided the garments – I really see them as a form of workwear for the cultural industry, so I wanted to transform those into sculptures. 5. You have previously used words in some of your work. How do you wish for these messages to be perceived? Letters and words are embedded in my work. Often, I use these as slogans, for example, my initials, GHL, or the word ‘labor’ or the year ‘2013’ which stands in for the idea of cultural production and art-making and mark a moment. I want people to interpret these words as people interpret words in the visual field in general: partial signifiers, hints, indications that appeal to one’s own history and sensibility.   https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1416885038558-C6LHIEA0ERGNPA3KOR10/YE_Parknight-60.jpg GHL Review by Charlie Porter at Hoi Polloi Magazine : http://salivastring.tumblr.com/post/103514651261 https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1416891334041-LL04GNZMQPZWJG4973J1/YE_Parknight-31.jpg GHL More photos : http://salivastring.tumblr.com/post/103514026331/serpentine-gallery-park-nights-friday-20th http://salivastring.tumblr.com/post/63368805508/serpentine-gallery-park-nights-friday-20th   https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1416890878490-SXKILNRYF2HHR6RPUUGK/GHL+shot.jpg GHL - GHL (Film/Promo) http://www.dazeddigital.com/artsandculture/article/17155/1/snakes-on-a-pav George Henry Longly has always been a stickler for the snake motif, and his new work is certainly no exception. The sensory trailer presents a marble structure, punctured with perforations and set amidst a heaving dramatic score by composer John Hannon. But particularly striking, is the multitude of glossy reptiles meandering, and erectly coiled in the eyelet-punctured panel. In this instance, the sculpture is literally brought ‘to life’ as the crescendo rolls and close-ups of ebony forked-tongues and scaled forms tighten around the composition. Longly explains, “In this film, the snakes stand in for the cultural products that I embed into my sculptures.” Visceral and threatening, it is in advance of Longly’s specially-commissioned performance, part of the Park Night’s series held at Sou Fujimoto's latticed Serpentine Gallery Pavilion. Art is come alive. http://www.carlosmariaromero.com/selectedprojects daily 1.0 2022-02-11 https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1528021181734-N9MXT8RFRB7U2TBM675E/6.performance_steven_21_foto_pedro_anguila.jpg performance https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/8103e85b-9dca-411c-b866-c2654859a828/Black+Leather+Jacket+selection.jpg performance - Make it stand out Muy Serio (Black Leather Jacket) performed by Samir Kennedy, Royal Academy of Arts, 2018 Part 1 - Part 2 https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1528021993991-U11ZSTVF6UCY8DU78B3Q/Muy+Serio+Horizontal.jpg performance Muy Serio (Blue Shirt) performed at Tom Thumb Theater, Margate 2018 https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/6c597145-d367-4fce-a4b5-1af719a855d5/Khaki+Pants+Selection.jpg performance - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1498178053551-4MZO7INYRQT0FRABUUF7/Capture+d%E2%80%99%C3%A9cran+2017-04-13+%C3%A0+05.03.51.png performance https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1624902689447-3FJJ00TUXCS254L4GGXG/Aly+Wight+Photography+-+Jupiter+Rising+2019-05928.jpg performance https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1624903053445-XZUFMXIQX8EHFUVS8CYK/Marketing+Images_Muy+Serio+%28Football+Shirt%29+4.jpg performance https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1417010989833-V6W68BGHGN2Q7C7056NM/1.jpg performance https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1420594259856-HWK5APEE4FW555K8ZSSN/0-1-1-1.jpg performance https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1426881756296-H24DRANJ58P6PIYQIP53/DRAF_Violet+Crab_Dan+Weill-41.jpg performance https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1419274925216-R7WDOR07WX2D84HJ1SBM/Untitled.jpg performance https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1639153835438-FAVOQ5VO0EQZPGF8B678/Architecture_of_Friendship_26_Foto_Pedro_Anguila.jpg performance https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1413307006497-0X6IAK0DFIODNZR63VRI/66931_481643671094_2701716_n.jpg performance - Names of artists involved separated by commas. Date separated by points. City. Place. Time separated by double points. Names of all the spectators separated by commas. Since early 2013 in collaborations with visual and performing artists Carlos Maria Romero has explore the theatrical moment and its relation to power. They staged a succession of works that research the connection between sculpture and presence by means of situations loaded with erogenous stress. Examining cases of human-object transvestism, like living-sculpture or in the spectrum of the erotic practices of BDSM, of which human-furniture is the most vibrant example, the project creates a ground to deepen notions of object-hood that partly relate to issues of fetishism, objectification, service, servitude and slavery. They also partly relate to the idea of “theatricality“ in minimal and performa- tive sculpture, since an audience (and its body) is required for its completion and enactment. Unders- tood in art as a certain performativity able to seduce into participation, a quality of theatre, is juxtaposed by the artists with the vulnerability that “emotional workers” experience in a neoliberal capitalistic society, where inmaterial labour conditions are vastly unprotected and by default ignored and exploited. A surpassed historical link between sexual workers and performing artists is subtly proposed as still actual with diminishing and queer-therapeutical-transcolonialist innuendo. The sensual charge that a theatrical occasion carries due to power asymmetry, more clearly during participatory encouragement, is mirrored back to the public through strategies that reflect the context itself. For instance, in the project, the traditional disciplined voyeuristic affair between performer and specta- tor, and the unspoken contract of respectful separation, is subverted by an investigation of an empo- wered performer’s body and sexuality, that is able to enjoy and show enjoyment of the happening, and even able to suggest the closing of the proximity with mutual contact. A kind of social prosthetic moment, borrowed from the ambience of sexually emancipated scenarios, supports experimentation in a communal sensing, touching and interacting. Performativity is extended to the spectators, occurring by performing for, with and by the consensual allowance of observing and being observed. Spectatorship is liberated into an interplay of presence and sensorial stimulation. The fourth wall is sealed behind all those present, leaving them in a dimension between mirrors, like the retro-futuristic planar dungeon of the villains of Superman II. In the work, Maria Romero and his collaborators use a tautological operation to reference the materials and devices used during it: humans representing sculptural representations of humans; sculptures that enact sculpture; mirrors reflecting reflection; “the voyeuristic experience of viewing” refracting spectatorship; theatre that reflects the theatre. This text arose from intentions, reflections, reviews and conversations with the audience and all the artists involved in the process and its previous outcomes. The project is named after the event has happened and it’s descriptive of the time, space and the people that took part, under its own logic it’s self-explanatory why. Collaborators (editions): David González Jiménez (Bogota, Stockholm, New York), Erik Rodríguez (Bogota), Marcus Baldemar (Stockholm), Luis Garay (Barranquilla, Bogota), Juan Betancurth (New York), Susan Mar Landau (USA), William Collins (London, Zürich), Guillaume Marie (Paris, Krems, Lausanne), Monkey Town 5 (Barcelona). https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1412681080425-HG9PYUX9C4K6NWX6GMWX/579909_177106492425400_1813672563_n.jpg performance - ______ In continuation of the CROSSOVER process CMR presented a performance intentionally without any name during Serving Fish, an event held at Addington House, a late Georgian home of a former Mayor of Margate, UK, curated by Fräulein Bitte (Sepake Angiama & George Henry Longly) as a course menu of artists’ performative recipes. Accompanied by Jean Baptiste Biche, a make-up and drag artist, and architect Sam Causer, they built up across two rooms a stage of mirror- tables on which naked, mermaid-like, half human female sculptures, half sport-socked fetishists read Bataille’s Story of the Eye and worshiped feet mutually. The project took inspiration from Olga Desmond, an actress that successfully fooled the Victorian restrictions of nakedness in theatres by painting herself as a white marble statue and staging tableaux-vivant of erotic classical motifs, creating scandal; and from a scene of Luis Buñuel’s film The Golden Age, a surrealist commentary of bourgeois life in which a couple of kissing lovers hide behind a statue and end up licking its toe. The artists stressed the act of cannibalising involved in art consumption by feeding the eyes of the audience with nude bodies. They used Bataille’s regurgitating text as a quote of its auto inflicted therapy to overcome the traumas of a catholic middle class upbringing in which he links the eye, the testicle and the egg in an extreme exploration of sexual emancipation. Initially CMR wanted to call the act Serving Fish, a colloquial expression amongst drag queens to describe stereotypically female performativity, but preferred a complete absence of naming in recognition of invisiblisation, and restriction. Documentation of the project became the material for a performative sculpture under the name I have the right attitude to life, all I need is experience (a quote from poet Mayakovsky at a young age) for a group show in the Modern Art Museum of Bogota in October 2012.   Photos © Jake Banfield http://www.carlosmariaromero.com/object-to-be-destroyed daily 0.75 2014-12-23 https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1416896097666-AVPKZZ7V3HNZYW16QU1W/17.jpg object to be destroyed https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1412681525094-TE2666QN1ETDP4KX1EHU/IMG_5431_Photo+%C2%A9Chani+Bockwinkel%2C+courtesy+of+Performa.jpg object to be destroyed - Object to be destroyed Pedro Gómez-Egaña has created a ceremonial performance built around the careful process of placing two magnetised pendulums in balance. His Object to be Destroyed sets the audience, guided carefully by the performers, on a journey that brings together symbolic and historical time, mystical fantasies, the magical experience of science and the point where bearing witness meets spectacle. Concept and Direction: Pedro Gómez-Egaña Composer: Henri Dutilleux, Au gré des Ondes Performers: Mina Nishimura, Ximena Garnica, Matthew Davis, Carlos Maria Romero, Pedro Gómez-Egaña Piano: Elaine Kwon Light Design: Kryssy Wright Dramaturgical Advisor: Bojana Bauer Off-Site Technical Assistance: Stefan Törner Production: Entrée and Performa The project was made possible with the kind support from Norwegian Consulate General New York, Office for Contemporary Art Norway and Bergen Municipality. Performa 13 Biennial November 22nd & 23rd, 2013 Abrons Arts Center, 466 Grand St, New York   Photos: Chani Bockwinkel, courtesy of Performa / Randi Grov Berger https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1416896088433-RPW6J3OZJKWOOZTPTQQP/11.jpg object to be destroyed https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1416896092022-3OGYLM1CD6FVMLL6OBXN/15.jpg object to be destroyed https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1416896067369-R5GIO4JSL1EG30MOFN7R/1.W.jpg object to be destroyed https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1416896988636-WB3PH2COZD734JURF9GJ/image-asset.jpeg object to be destroyed Video-documentation: Charles Dennis, Pedro Gomez-Egana https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1412681599837-GNYVT42D16P4LW5YNZ35/5.jpg object to be destroyed The audience gathers in a theatre foyer. Groups of five people are allowed into a dimly-lit hallway lined with thick curtains and carpet. An usher signals the group to wait in the middle of this hallway. A pianist begins to play "Au gré des ondes" by Henri Dutilleux, but the piano and its pianist remain invisible. Once the 2’30” long piece finishes, the group can hear steps beyond the curtains. The usher signals the audience to continue through the hallway until they reach a mezzanine overlooking an open space, which is the stage of the theatre. The group is asked to walk down a set of steps onto the stage, also surrounded by curtains. The pianist and two female performers are in the space. Five chairs are organised in a semi-circle. Once the audience members are settled, the usher leaves, and the pianist begins to play again. While the music plays, the performers walk towards the centre of the room and reach for two copper-coloured clock pendulums fitted with neodyme magnets lying on the floor. One is attached to the ceiling and the other to the floor by use of nylon strings. The performers carefully begin to bring the pendulums together, until reaching a point of balance between the pull of the magnets and the resistance of the nylon threads. The performers walk back and the pendulums remain suspended in mid-air as the music comes to an end. Steps (from other audience groups navigating the different stages of the performance) are heard around the space again. The usher appears through the curtains behind the suspended pendulums and asks the audience to enter. The curtain closes and the audience find themselves in a more domestic setting. The usher sits down in front of the audience and finds another pair of pendulums lying next to him. As the piano begins to play on the other side of the curtain, he places the pendulums in balance just as the performers did in the previous room. Once the music stops, the usher invites the audience through yet another set of curtains, to a space with a man facing away from them, looking down at a coffee table with two quartz crystals next to each other. The usher then asks them to continue up a set of stairs and through a door where they are shown out of the building. http://www.pedrogomezegana.net/#/otbd/ http://www.entreebergen.no/indexhibitv070e2/index.php?/pedro-gomez-egana-object-to-be-destroyed/ http://13.performa-arts.org/event/pedro-gomez-egana https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1416896096401-08JW5UC1L2O50R5DO371/18.jpg object to be destroyed https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1416896070790-FDVMAFQZ5GA6O7NWUWFD/4.jpg object to be destroyed https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1416896079810-LCLDOY1SPQ0HESIUZ8GL/10.jpg object to be destroyed https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1416896097666-AVPKZZ7V3HNZYW16QU1W/17.jpg object to be destroyed https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1416896113479-YJIGH2VH0ATV3O0DTTU0/IMG_5262.JPG object to be destroyed https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1412681429834-P6FPHI6ZKG18697REMU7/2.jpg object to be destroyed Pedro Gómez-Egaña (b.1976, Colombia) lives and work in Bergen, Norway and Copenhagen, Denmark. Educated from Goldsmiths College and Bergen National Academy of Arts and the Norwegian Artistic Research Fellowship Program. He works with sculpture, video, phonography, and site specific works that include a focus on motion and temporality. Gómez- Egaña is currently showing works at Bergen Assembly, Monday Begins on Saturday, and opens a new projects for Lofoten International Art Festival on September 6th. He has also performed at the South Bank Centre, Institute of Contemporary Art, London; Kunstnernes Hus; OktoberDans, Bergen; Hordaland Kunstsenter, Bergen; Kunstraum Kreuzberg, Berlin; Brussels Biennial; Marrakech Biennial; Kunsthall Mulhouse; Purcell Room, South Bank Centre, London; Rencontre International d’Art Performance de Quebec; L’appartement 22 Rabat; Galeria Vermelho, Sao Paulo; CCMoca, Buenos Aires: Dare Dare, Montreal and for BMIC Cutting Edge Series, London. http://www.carlosmariaromero.com/compersiondos daily 0.75 2016-08-23 https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1471964632625-BJ1NQJET5TT2JVJSLXZ8/Compersion+dos+cover+.jpg Compersion Dos http://www.carlosmariaromero.com/posibles-vctimas daily 0.75 2017-01-07 https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1483761778137-TC0R051RKGZ7IN0PC25W/5.4posibles+victimas+04.jpg Posibles Víctimas https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1483756270043-QGEL008YNIE3LFI1MZOU/Invitacion+Afiche+Victimas+Final+internet.jpg Posibles Víctimas https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1483760973296-0U2YU7CQJTUP0JAC9Z74/1.2+posibles+victimas+13.jpg Posibles Víctimas - Trailer https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1483756295417-QIJ5VKBATNJ3BUSY9WQG/1.1Posibles+Camarin.JPG Posibles Víctimas https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1483756298407-OQW6X1A51CHU6XGQXF5C/1.3posibles+victimas+02.JPG Posibles Víctimas https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1483760717674-1LXB4NQIRFF4427LZT4T/2.2posibles+victimas+21.jpg Posibles Víctimas https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1483756311725-GIDLHBRPC7J6FCW2L00E/2.1posibles+victimas+12.JPG Posibles Víctimas https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1483756332528-U6F2YBU9MODND6SH7UX2/4.1posibles+victimas+15.JPG Posibles Víctimas https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1483756333854-PHFI4PF6DBPRPEU0B0MC/4.4posibles+victimas+16.JPG Posibles Víctimas https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1483760880251-UGOFRMLJZLG5XR0LKENJ/4.2posibles+victimas+26.jpg Posibles Víctimas https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1483756333543-QMLYL4B5O9PGXR0IRKNV/4.5posibles+victimas+17.jpg Posibles Víctimas https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1483760740394-M9O8QPAJEGCYLZN3FQX4/3.4posibles+victimas+19.jpg Posibles Víctimas https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1483760780638-2D7KB6FMI494KMTCGJF6/3.3posibles+victimas+11.jpg Posibles Víctimas https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1483760789124-M23N2L44TS4EV405XQ46/3.2posibles+victimas+10.jpg Posibles Víctimas https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1483760833260-X6F9Y33JHL17PMRRLI2J/3.1posibles+victimas+18.jpg Posibles Víctimas https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1483756847565-FFYRHIQNS7YDB9K4M5JD/1.5posibles+victimas+14.jpg Posibles Víctimas https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1483760688765-TJTX0FNWNDLL5QJR8WYO/3.5posibles+victimas+18.jpg Posibles Víctimas https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1483757097331-CES30FDMDWKGPWJK9W10/5.1posibles+victimas+03.jpg Posibles Víctimas https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1483761778137-TC0R051RKGZ7IN0PC25W/5.4posibles+victimas+04.jpg Posibles Víctimas https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1483757111420-48KU10ZIKR3KDPMLDNBS/5.2posibles+victimas+20.jpg Posibles Víctimas https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1483757129137-U5V4VA5BCV4BLG3CST91/5.3posibles+victimas+09+.jpg Posibles Víctimas https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1483757338185-45BLWSQA4SNPNCMAIMM2/5.5posibles+victimas+07.jpg Posibles Víctimas https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1483757406839-0IZGBJCUTPPW4SCGSQZK/5.9posibles+victimas+08.jpg Posibles Víctimas https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1483757325714-VSVFTGVHONOP29TDDZIF/5.6posibles+victimas+06.jpg Posibles Víctimas https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1483757358158-3ELG4JO2WI3RIUU943WE/5.7posibles+victimas+28.jpg Posibles Víctimas https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1483757411023-0NV64ZHXEKTG0WT623W0/5.9posibles+victimas+22.jpg Posibles Víctimas https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1483757373922-4J2Y3X8NEUQ3Q532FDU3/5.8posibles+victimas+05.jpg Posibles Víctimas https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1483756310644-KSESYRRGTSQ9JEEKR0B4/1.4posibles+victimas+01.JPG Posibles Víctimas https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1483761820072-CNGK1LJJCYT1H4D9I9EJ/2.3posibles+victimas+25.jpg Posibles Víctimas http://www.carlosmariaromero.com/spit-manifesto daily 0.75 2021-12-02 https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1624905505449-GZRZCS6TEI35UNMCTJHI/JBF_4696LR.jpg The SPIT! Manifesto https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1638451945230-LBX0ZWN8WCLF5N01FHB4/image.jpg The SPIT! Manifesto - The SPIT! Manifesto SPIT! (Sodomites, Perverts, Inverts Together!) (Carlos Motta, John Arthur Peetz, Carlos Maria Romero), initially with Joshua Hubbard, Carlos Mauricio Rojas, Claudia Palazzo, Malik Nashad Sharpe, Danielle Brathwaite-Shirley, Despina Zacharopoulou, and joined later by Krishna Istha, Elijah W Harris, Joshua Serafin, Tokyo De Ville, Camilo Godoy, Jason Guevara/Jenn D’Role, Vivian Crockett, Manu Mojito, Daniela Gonzalez, Manuela Zapata, Honey Vergony, Astergio Indalecio Pinto Apüshana and Mati Gonzalez. The SPIT! Manifesto was a series of performance interventions at Frieze Projects London (2017) that used speech acts and performative gestures inspired by queer manifestos from the 1960s to the present. SPIT! wrote a series manifestos that respond to contemporary pressing issues of sexual and gender oppression and invited performers Joshua Hubbard, Carlos Mauricio Rojas, Claudia Palazzo, Malik Nashad Sharpe, Daniel Brathwaite-Shirley, and Despina Zacharopoulou to interpret, (in cases) rewrite, and perform them. SPIT! also published The SPIT! Manifesto Reader bringing together a selection of historical and contemporary queer manifestos to create a dialogue between radical queer histories past and present. The reader was distributed for free during the performances and is available online here: SPIT! (PDF) Frieze Projects curator: Raphael Gygax. Frieze Projects Production: Keziah Goudsmit, Lewis Gilbert and Holly India Shuttleworth. Trailer for The SPIT! Manifesto by Laura Bushell for Frieze Projects SPIT! has been presented at: -Kirik, Istanbul, 2021 / Video online screened 25 November- 9 December, 2021 -Skopje Pride Weekend, 2021 / Performance + handout with manifestos in Macedonian -‘and if i devoted my life to one of its feathers’, Kunsthalle Vienna, 2021 / Video in group exhibition -Galeria Vermelho, São Paulo, 2020 / Video online -‘RIOT’, Antwerp Queer Arts Festival, 2019 / Performance -BOFFO, Performance Art Festival, 2019 / Performance -3 Periodica, Bogotá, 2019 / Manifesto in Spanish on printed magazine -‘Carlos Motta: Conatus’, PPow Gallery, New York, 2019 / Video in solo exhibition -‘I Apologise’, France, 2018 / Manifestos on zin -Verbo, Performance Art Festival, São Paulo, 2018 / Manifestos in Portuguese printed in festival catalogue -Odeon -Intensivo-, Bogotá, 2018 / Performance + handout with manifestos in Spanish -'Debes seguir - No puedo seguir - Seguiré', espacio odeón, Bogotá, 2018 / Performance in group exhibition + handout with manifestos in Spanish -The London Summit: Queering Space, 2018 / Performance -Queer Migrant Takeover: Deeper Routes, London, 2018 / Performance -Queer Migrant Take Over, Latitude Festival, UK, 2018 / Performance -PRIDE: Past, Present and Future, UAL, Bishops Gate Institute, London, 2018 / Performance -Love Lazers, Bogotá, 2018 / Manifesto in Spanish, German and English in website + Public readings -Femmetopia Festival, Vogue Fabrics Dalston, London, 2018 / Performance -Talking HIV Stigma during Stick It To Stigma, Canvas Cafe, London, 2018 / Performance -Queer Cafe at Lush - Summit, London, 2018 / Performance -Beyond The Binary, Lomography, London, 2018 / Performance -Section 28 Tribute Night - 30 years on, Queer Tours of London, 2018 / Performance -Liberté, Égalité, Fraternité, Weekends, Paris, 2018 / Readers in group exhibition -Frieze Projects, London, 2017 / Performance + handout of the Reader https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1512245081516-J0PJGKNSBVQA8TTH3HTT/SPIT1.jpeg The SPIT! Manifesto The SPIT! MANIFESTO READER: SPIT! (PDF) https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1512244590358-7JWOTSAKCEWI8CUTT2EH/171003-Frieze-P6-Spit-65.jpg The SPIT! Manifesto Daniel Brathwaite-Shirley: We The Enemy Manifesto (rewritten by Daniel Brathwaite-Shirley) All photos by Lewis Ronald https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1512244603854-6TSF71OAFJZ0N7TB6XG1/171003-Frieze-P6-Spit-67.jpg The SPIT! Manifesto https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1512244569131-EKWYT3O27UGN032N6PBV/171003-Frieze-P6-Spit-59.jpg The SPIT! Manifesto https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1512244564769-4RZL4ZQQVVA6N2P22N33/171003-Frieze-P6-Spit-60.jpg The SPIT! Manifesto Joshua Hubbard: The Faggot Manifesto https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1512244579252-C55Y5KBMRNMA7B0XQ0XO/171003-Frieze-P6-Spit-61.jpg The SPIT! Manifesto https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1512244580845-SBCNAUDNRZJ3FUG08N1U/171003-Frieze-P6-Spit-62.jpg The SPIT! Manifesto Claudia Palazzo: The PrEP Manifesto https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1512244590352-5WJ6GFNXWVRERWEHMJXJ/171003-Frieze-P6-Spit-63.jpg The SPIT! Manifesto https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1512244605145-PI3NQWY20S6DP0D8A1EL/171003-Frieze-P6-Spit-83.jpg The SPIT! Manifesto Malik Nashad Sharpe: The Anti-Assimilation Manifesto (rewritten by Malik Nashad Sharpe) https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1512244617125-5BIOYJYTXAZPHVKDUUP4/171003-Frieze-P6-Spit-84.jpg The SPIT! Manifesto https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1512244616911-JA2R7QFO28AJMNN55LFF/171003-Frieze-P6-Spit-89.jpg The SPIT! Manifesto Despina Zacharopoulou: We The Enemy Manifesto https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1512244629385-8DAZM6KQT0JPA4207GHT/171003-Frieze-P6-Spit-90.jpg The SPIT! Manifesto https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1512244626760-ID62S6CMGJIPTCC005NT/171003-Frieze-P6-Spit-91.jpg The SPIT! Manifesto Carlos Mauricio Rojas: The Anti-Assimilation Manifesto (rewritten by Carlos Mauricio Rojas) http://www.carlosmariaromero.com/movement-practices daily 0.75 2021-11-19 http://www.carlosmariaromero.com/collective-work daily 0.75 2021-11-19 http://www.carlosmariaromero.com/films daily 0.75 2023-05-08 https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1624901775790-SANG6FZU1P238RBRRVAA/IMG_8350.JPG moving image - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/7215fc0b-4584-4e94-bbab-30a84064845d/title_card_final_1.jpg moving image - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/b3d0a3ce-2c15-491b-b52f-87ef93d02392/WhatsApp+Image+2021-11-12+at+18.18.03.jpeg moving image - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/2903c2f4-7247-43f4-aa93-a681f59db3ba/img_8164_f.jpg moving image - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/cb53fe94-8a17-4cbf-8476-068df261fe1d/WhatsApp+Image+2021-11-12+at+16.53.48.jpeg moving image - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/b2775878-cdd3-4b9f-84f8-0a1eb5fa846d/Mobile.jpeg moving image - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/71d2c196-19f3-4265-b235-c6ef58d59dd0/hurakan_caress_font_without_3.jpg moving image - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/9fad2593-839d-4c01-b152-5b0a22a2c8ab/WhatsApp+Image+2021-11-12+at+18.18.01+%281%29.jpeg moving image - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/cb05e258-5b68-4593-a9ab-28d1847b503a/WhatsApp+Image+2021-11-12+at+18.18.02+%281%29.jpeg moving image - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/7b370b93-5b4a-4d49-b02d-4e29270c190f/WhatsApp+Image+2021-11-12+at+18.18.02.jpeg moving image - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/247f246e-0c78-4b46-9e1a-fbecb3c5ca89/WhatsApp+Image+2021-11-12+at+18.18.01.jpeg moving image - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/059e00dc-d8df-4811-9cb2-afcada46f91d/backs_final_f.jpg moving image - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/56357328-e4a5-4d28-b3ca-8a680b813172/img_8843_f.jpg moving image - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1624903821125-PVIYFDPQFAVH4FI1TYI1/la-nave-2021-film-still-2_BLPgFvCZ.png moving image - Make it stand out La Nave, 2021, film still https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1624903691124-IMYY6VID3U2TALISFAEH/la-nave-2021-film-still-3+jpg.jpg moving image - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1624903647070-L7M28PFV4QQDYH39S3X0/la-nave-2021-film-still-1_+jpg.jpg moving image - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1624903923575-5MEFU3ISVKUMWNW88Y3W/la-nave-2021-film-still-4_jpg.jpg moving image - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/8974729c-ae4e-4393-971d-710e292741ee/an+oceani+shrine+3+%C2%A9+Carlos+Maria+Romero.png moving image - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/d59c365d-ff63-43af-aabb-b91417dae18a/on+oceanic+shrine+1+%C2%A9+Carlos+Maria+Romero.png moving image - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/5aa55c56-41c2-489e-9f15-d4fda857224e/an+oceanic+shrine+2+%C2%A9+Carlos+Maria+Romero.png moving image - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/f8eec060-4b66-4a41-81c2-f7a4102f09d1/ambiente_familiar3.jpg moving image - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/5aa55c56-41c2-489e-9f15-d4fda857224e/an+oceanic+shrine+2+%C2%A9+Carlos+Maria+Romero.png moving image https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1637199583334-EDRWQWZPXUD3IUP0COGD/La+Nave+%3A+Film+Still+II+HR+%C2%A9+Carlos+Maria+Romero%2C+2021.jpg moving image https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/2903c2f4-7247-43f4-aa93-a681f59db3ba/img_8164_f.jpg moving image http://www.carlosmariaromero.com/frontera daily 0.75 2022-05-10 https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1637358779797-CMJ42NBJTPW32AN9FBGS/TiA-2021-Amanda-Pina-Frontera-Border-%28c%29-Dajana-Lothert-19.08.2021-20x30-16.jpg Frontera DANZA Y FRONTERA Amanda Piña (Vienna | Santiago de Chile | Mexico-City) DANZA Y FRONTERA is based on a dance that arises at the border between Mexico and the US. The dance is performed today in a context of extreme violence related to a border where narcotraffic, militarization, and cheap labour industries meet. The dance has its roots in an ancient pre-hispanic dance form that was later used by the Spanish Crown, to develop the conquest of Mexico as a „Danza de Conquista“, a conquest dance. It continued to transform itself until today used as a form of resistance to colonial and later neoliberal forces. A contemporary pop-cultural appropriation in which indigenous practices, colonial narratives, Hip-Hop culture and indigenous mysticism resonate. DANZA Y FRONTERA explores this border choreography and brings its protagonists in the context of the advancement of Fortress Europe. As border subjects, the performers inhabit a place in between, understanding its power and limitations, dancing beyond all notions of borders be they cultural, national or aesthetic. The piece corresponds to the fourth volume of the research on ENDANGERED HUMAN MOVEMENTS, a long-term project dedicated to the re- appearance of dances and cultural practices. Five volumes of research in the scope of this project have been already realised which include performances, Installations, Videos, publications, curatorial frames, workshop and lectures. https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1637358779797-CMJ42NBJTPW32AN9FBGS/TiA-2021-Amanda-Pina-Frontera-Border-%28c%29-Dajana-Lothert-19.08.2021-20x30-16.jpg Frontera DANZA Y FRONTERA Amanda Piña (Vienna | Santiago de Chile | Mexico-City) DANZA Y FRONTERA is based on a dance that arises at the border between Mexico and the US. The dance is performed today in a context of extreme violence related to a border where narcotraffic, militarization, and cheap labour industries meet. The dance has its roots in an ancient pre-hispanic dance form that was later used by the Spanish Crown, to develop the conquest of Mexico as a „Danza de Conquista“, a conquest dance. It continued to transform itself until today used as a form of resistance to colonial and later neoliberal forces. A contemporary pop-cultural appropriation in which indigenous practices, colonial narratives, Hip-Hop culture and indigenous mysticism resonate. DANZA Y FRONTERA explores this border choreography and brings its protagonists in the context of the advancement of Fortress Europe. As border subjects, the performers inhabit a place in between, understanding its power and limitations, dancing beyond all notions of borders be they cultural, national or aesthetic. The piece corresponds to the fourth volume of the research on ENDANGERED HUMAN MOVEMENTS, a long-term project dedicated to the re- appearance of dances and cultural practices. Five volumes of research in the scope of this project have been already realised which include performances, Installations, Videos, publications, curatorial frames, workshop and lectures. https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1637358784151-1A8G5Y0P3VHA7PBX6G69/TiA-2021-Amanda-Pina-Frontera-Border-%28c%29-Dajana-Lothert-19.08.2021-20x30-17.jpg Frontera Presented at: - Frontera | Border – A Living Monument, during Tanz Im August, at Haus der Statistik, Berlin, 2021 -Danza y Frontera, during Ruhr Triennale, at PACT Zollverein, Essen, 2021 -Danza y Frontera, during Spielart Festival, at Muffathalle, Münich 2021 -Frontera | Border – A Living Monument, during Transform Festival, at Victoria Leeds Multi Storey Car Park, Leeds, 2022 -Frontera | Border – A Living Monument, during Passages Transfestival, at HQ, Terrace of the Orangerie, Metz, 2022 https://static1.squarespace.com/static/54298c1ce4b0b9b48199824c/61981c4d4e6d8d384a972c04/61981c644a92156db1be159b/1637358692379/ Frontera https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1637358761581-V0HXQ584SS2N1K3RAXPE/TiA-2021-Amanda-Pina-Frontera-Border-%28c%29-Dajana-Lothert-19.08.2021-20x30-7.jpg Frontera Artistic Direction & Choreography: Amanda Piña Art Design: Michel Jimenez Choreography & Transmission danza de Matamoros: Rodrigo de la Torre Coronado Research: Juan Carlos Palma Velasco, Amanda Piña Performance: Matteo Marziano Graziano, Daphna Horenczyk, Dafne del Carmen Moreno, Juan Carlos Palma Velasco, Rodrigo de la Torre Coronado, Lina María Venegas, Mariê Mazer, Carlos María Romero aka Atabey Mamasita, Jorgue luis Cruz Carrera Music and composition: Christian Müller Live percussion: Jorgue luis Cruz Carrera Research / Theory / Dramaturgy: Nicole Haitzinger Costume: La mata del veinte / Julia Trybula Production Management: nadaproductions International distribution, tour management: Something Great (Berlin) https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1637358801288-Q1DTBT3NLT2OEIBAWJ3G/TiA-2021-Amanda-Pina-Frontera-Border-%28c%29-Dajana-Lothert-19.08.2021-20x30-22.jpg Frontera https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1637358737437-YL2GVQ3Q0N2Z2CFVQM1V/TiA-2021-Amanda-Pina-Ausstellung-I-%28c%29-Dajana-Lothert-22.08.2021-20x30-5.jpg Frontera https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1637358806824-EA79SECTON6542N9GSAD/TiA-2021-Amanda-Pina-Frontera-Border-%28c%29-Dajana-Lothert-19.08.2021-20x30-29.jpg Frontera https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1637358819874-HO63D4G1OYY1HDNU7L5Q/TiA-2021-Amanda-Pina-Frontera-Border-%28c%29-Dajana-Lothert-19.08.2021-20x30-30.jpg Frontera https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1637358810362-G2JOB3R3CXOMDEQ77F0B/TiA-2021-Amanda-Pina-Frontera-Border-%28c%29-Dajana-Lothert-19.08.2021-20x30-36+Cropped.jpg Frontera https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1637358838718-788B5R1W6TE9ROCX3WDR/TiA-2021-Amanda-Pina-Frontera-Border-%28c%29-Dajana-Lothert-19.08.2021-20x30-36.jpg Frontera https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1637358840384-649PH0XPB2BIFX7BZMB5/TiA-2021-Amanda-Pina-Frontera-Border-%28c%29-Dajana-Lothert-19.08.2021-20x30-38.jpg Frontera https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1637358852782-CT9X47ZYJX2H8HXUPL07/TiA-2021-Amanda-Pina-Ausstellung-I-%28c%29-Dajana-Lothert-22.08.2021-20x30-2.jpg Frontera https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1637358873820-25CBVKDA6YLGE3A4JW0F/TiA-2021-Amanda-Pina-Ausstellung-I-%28c%29-Dajana-Lothert-22.08.2021-20x30-14.jpg Frontera https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1637358874626-EE6OOGPZE0D4IYEPMS0Q/TiA-2021-Amanda-Pina-Ausstellung-I-%28c%29-Dajana-Lothert-22.08.2021-20x30-15.jpg Frontera http://www.carlosmariaromero.com/dance-choreography daily 0.75 2021-11-20 http://www.carlosmariaromero.com/fashion daily 0.75 2021-11-23 http://www.carlosmariaromero.com/no-stalkers daily 0.75 2016-08-23 http://www.carlosmariaromero.com/contact daily 0.75 2016-08-23 http://www.carlosmariaromero.com/voguechi daily 0.75 2022-05-04 https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/6205531b-092d-437e-bb00-87c5f0143877/Vogue-Chi+-+Carlos+Maria+Romero.jpg Vogue- Chi - 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Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/1471983312192-IR8FGEV4YTW13T63CL92/2016-07-03+17.01.17.jpg Margate Coastal Park http://www.carlosmariaromero.com/about-1 daily 0.75 2016-12-13 http://www.carlosmariaromero.com/english daily 0.75 2019-02-13 http://www.carlosmariaromero.com/the-plenitude-slut-a-vindictive-practice daily 0.75 2021-11-19 https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/5227f821-45e1-45b6-90bd-0792f64286ca/IMG_6253.JPG The Plenitude Slut - a vindictive practice - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/f8dcbe4c-0af2-47db-a385-59698ac002f1/Screen+Shot+2021-11-19+at+16.51.03.jpg The Plenitude Slut - a vindictive practice - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/d5a10f3e-456c-4505-8d6a-a2e582d7ac5d/Screen+Shot+2021-11-19+at+16.59.13.jpg The Plenitude Slut - 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Courtesy: the artist and Stedelijk Museum Amsterdam; photograph: Maarten Nauw https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/600e733a-39c0-4c77-a485-b8092817a89a/2019-alexbaczynskijenkins-usswerve-kunsthallebasel-LoRes-1.jpeg Us Swerve - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/54298c1ce4b0b9b48199824c/6875bbe0-4766-4a13-8464-525d6126e4af/2019-alexbaczynskijenkins-usswerve-kunsthallebasel-LoRes-11.jpeg Us Swerve - Make it stand out Alex Baczynski-Jenkins, performance view, Us Swerve, 2014, Such Feeling, Kunsthalle Basel, 2019. 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