I am a blend of disciplines, places, languages, and skills collected over time.
Born and raised in Buenos Aires, Argentina. As a young adult, I traveled for a year's hiatus to Israel and stayed to follow dance education studies and 20 years more. For over a decade, I taught movement improvisation while also performing in dance & experimental theatre projects. Following my curiosities, abilities, and necessities, since 2011 I have filled creative production positions in the arts, mostly in international axis. Since then, I have collaborated in events in professional environments to grow networks and open possibilities for exchange through personal encounters. You can see past and current projects under BACKSTAGE.
In my constant personal quest, amid the pandemic I relocated to the Netherlands for studies in 2020. In my practice- led research and current professional path, I combine my long years of expertise in movement and creative practices to create artistic interventions. I host a group of participants in different settings and invite them to use any space/place as a playground for attention and action. Through prompts (called scores in the improv-pro jargon) I ignite divergent thinking, prioritize multiplicity, and allow personal sensibilities, tendencies, and imagination to come to the front.
Photo: Hannah Goldstein
I have developed artistic interventions:
- around dance performances (Who is afraid of dance? series),
- In art institutions (check out How to enter an art institution?),
- and a city tour for MOMO music festival (Time machine).
You can read further thoughts about my practice in FRONSTAGE/AUDIENCING and see the full list of dates under EVENTS.
The two red threads in my practice, hosting and somatic work, intertwine and distinguish and by doing so, new curiosities arise. I sense the versatility of the tools I work with and their potential to touch diverse settings and people. I define hosting as shared time and the capacity to make space to connect in simplicity in our humanities. I see somatic work as a tool to construct knowledge whether it is about oneself, art or a text. The practice offers an opportunity to slow down, suspend words, and allow us to taste more-than-them, beyond what we grasp. It is primal, it is instinctive, relational, and poetic. We learn in our flesh.