residences, choreographic work and researches that I have been directing and/or co-creating  

RUPTURE IN THE CRUST

2022- ongoing

supported byBKM, NEUSTART KULTUR und Dachverband Tanz Deutschland

to mark the intervention: gold in the crack an ornamented fracture

Japanese sealing method that fills in with resin and metal; gold, silver or platinum, a reparation that exposes cracks discussion at the Acropolis, restore with concrete then return to marble, leaving in evidence the exercise of restoration clearly changing the colour the material because the destruction is not erased in pieces of history, time shows broken surfaces

in its hands corridors of fire, lineaments of volcanoes capturing the meeting points between diverging tectonic plates tunnels that, from time to time, exude lava geological constitution that burns daily in its permanent internal fire looking at the end can be inherent to the geography of the planet, a daily apocalypse event end of 2020 -what are your wishes for the upcoming year? not to pass it - answered the 94 years old man without sarcasm, longing for a cut, wishing to delimit to forget fugues, drippings, leakages, closures latency of a conclusion incapable of reactivation I am I an active element of the end?

Working with printmaking, clay and dance, the project elaborates on the idea that one and its surroundings are, in various historical and personal phases, experiencing a rupture or end. The project questioned the state of finality, fracture and limit as a constituent characteristic of the subject and of the Earth. The research inquired material and poetic analogies between; geographical elements of the earth's surface like volcanoes, caves, tectonics plates that act as perforations, cracks, leakages; spaces of rupture in daily materials and surfaces like screams in walls, leaks in ceilings, fissures in objects, archaeological ruins; and; physical and emotional spaces of dissipation in the body like brain cracks, bone fractures, tear troughs, pupils, act of forgetting.