In-Residence

The shared exchange by the performer from Granada will take place in the Castillo Hall of the Auditorio, with free entry until the full capacity is reached.

This Sunday [16th], the Auditorio de Tenerife is staging the final show of the residency of Amalia Fernández, a member of the Performing Arts and Citizenship Laboratory, with sponsorship from the Regional Institute of Cultural Development (ICDC). Solala will take place at 7.30 p.m in the Castillo Hallo. The entry is free until the full capacity is reached.

The performer from Granada has been in residence at the Auditorio de Tenerife since 3 July with the collaboration of members of the Coro del Ateneo choir of La Laguna. Solala is the title of this project, which will result in a series of short pieces, made to be watched one after another, created and performed by Amalia Fernández. Although the direction, concept, and performance are by the artist in residence, the piece has live illustrations by Andrés Martínez.

The creative process is based on a wish list: Who has never made a wish list? An inventory of resolutions for the new year, a letter to the Three Kings, a promise to the Virgin of the Holy Cave... The wish is the driving force of the action, it is the present that starts venturing into the future.

This project is about the passing of time in different ways: the necessary time it takes to complete something; the time in life that each human possesses; the time on the clock as opposed to time as a subjective perception of the senses; historic and cyclical time, and the time that is shared with others. However, Solala is also about crocheting, creating stories from family photos, reflecting on Cuba and singing all together.

Amala Fernández trained in classical dance at the Royal Conservatoire of Seville and in contemporary dance with different choreographers such as Ana Buitrago, Francesc Bravo, Olga Mesa, Mónica Valenciano and others.

Her professional career has moved from performance (as a member of the company El Bailadero-Mónica Valenciano for 10 years) to independent creation from 2005 on. She is the author, director and performer of the pieces Matrioshka, Kratimosha, En construcción, El resistente y delicado hilo musical, Expografía, Monstruos Musicales and Neti Neti, among others. She has also created other pieces in collaboration with the artists Juan Domínguez, Nilo Gallego, Sonia Gómez and Cuqui Jerez.

As a teacher she has collaborated, among others, with the master’s degree in Stage Practice and Visual Culture at the University of Castile-La Mancha, with the Theatre Institute of Barcelona, with the LOVA Project and with the Reina Sofia museum.

Auditorio de Tenerife recibe del 3 al 16 de julio de 2023 la residencia artística Solala de Amalia Fernández, del Laboratorio de Artes Vivas y Ciudadanía, que cuenta con el patrocinio del Instituto Canario de Desarrollo Cultural del Gobierno de Canarias. La muestra final tendrá lugar el domingo 16 de julio a las 19:30 horas en la Sala Castillo del Auditorio de Tenerife. 

Solala es el título de un proyecto que dará lugar a una serie de  piezas de corta duración, hechas para ser vistas una detrás de otra,  creadas e interpretadas por Amalia Fernández.  El proceso creativo parte de una lista de deseos. ¿Quién no ha hecho alguna vez una lista de deseos? Un inventario de propósitos para el nuevo curso, una carta a los Reyes Magos, una promesa a la Virgen de la cueva... El deseo es el motor de la acción. Es el presente que echa a andar hacia el futuro.

Este proyecto (aunque nadie lo dirá, porque no es lo que parece) trata sobre el paso del tiempo en distintos sentidos:

• El tiempo inevitable que se tarda en logar llevar algo a término: la espera, la constancia, la paciencia, la tarea pequeña de cada día y su acumulación.
• El tiempo de vida del que dispone cada ser humano. El tiempo de los humanos que va pasando de cuerpo en cuerpo infinitamente. La familia: los progenitores.
• El tiempo del reloj frente al tiempo como percepción subjetiva de los sentidos. El minuto que se hace eterno y la semana de vacaciones que pasa volando. El tiempo mientras bailamos. El tiempo contigo y el tiempo sin ti. ¿Qué hora es?
• El tiempo histórico y cíclico.
• El tiempo que se comparte con los otros.

Lo que posiblemente digan es que Solala es hacer ganchillo, crear relatos a partir de fotos de familia, reflexionar sobre Cuba, cantar todos juntos  y alguna cosa más.

Amalia Fernández (Granada, 1970)

Formada en danza clásica en el Real Conservatorio de Sevilla y en danza contemporánea con distintas coreógrafas como Ana Buitrago, Francesc Bravo, Olga Mesa, Mónica Valenciano y otras.

Su trayectoria profesional ha ido de la interpretación (como miembro de la Cia. “El Bailadero-Mónica Valenciano”, durante 10 años) a la creación independiente a partir del 2005. Es autora, directora e intérprete de las piezas  Matrioshka, Kratimosha, En Construcción, El resistente y delicado hilo musical, Expografía,  Monstruos Musicales y Neti Neti, entre otras. También crea otras piezas en colaboración con las artistas Juan Domínguez, Nilo Gallego, Sonia Gómez y Cuqui Jerez.

Como docente ha colaborado con el Master de Práctica Escénica y Cultura Visual de la Universidad de Castilla La Mancha, con el Institut del Teatre de Barcelona, con el Proyecto LOVA, con el museo Reina Sofia y un largo etc.

During the months of September, October and November 2021, the Auditorio de Tenerife welcomes the artist residency Sobre lo que no se ve (On what is not seen), a project by the dancer Masu Fajardo. The final exhibition will take place on Friday 3 December 2021 at 18:30.

It is an investigation into the body that is based on the experiencing action through sensations and their narration.

This piece arises after the project "Manual de coreografías" (Manual on choreography), presented at the Ateneo Cultural Centre of La Laguna and the old Convent of San Agustín (St. Augustine) as a textual exhibition.

On this occasion, the texts are acted upon by a series of collaborating artists, creating among all a single place for the reader/viewer’s imagination.  

Hence, the idea of constructing a scene that can be heard and accessed by people with reduced sight and even the blind.

In this way, "On what is not seen" stems from previous work and aims to paradoxically explore what we see, what we remember, memory, and the present as a place to be accessed for the game of expanding our memories.

The performance work will be undertaken by three artists trained in post-dramatic dance or theatre.

Imagination as a way of building the world will be part of the show. 

"There is something in what we see that we don't see."  Or, perhaps more accurately, "there is something in what we see that we don't realize that we see, that we don't know that we see."

...An impregnable blind spot at the very centre of the field of vision; perhaps, even acting as sight's fastest organizing nucleus.

For that episteme, for that general program that regulates the conditions complex under which sight is produced –technical conditions, financial conditions, political conditions... but also, symbolic conditions, fiduciary conditions, conditions referring to the abstract beliefs and narratives that a community implicitly shares– seeing is a cognitively impaired, incomplete act that is not sufficiently undertaken in and of itself.

Fragment of DESOCULTACIÓN (DECONCEALMENT), by José Luis Brea.

Masu Fajardo was born in Tenerife in 1978. She combined her studies of Art History with dance, ultimately opting for the latter. She continued her training in Barcelona, where she became a professional dancer and worked with different choreographers and companies. Starting with her solo Microficciones: cómo desaparecer en escena (Microfictions: How to disappear on stage), she embarked upon her own line of research on invisibility and intermediate spaces where sight is interrupted by the non-linear: an expanded time and a scene of a performing nature in terms of being a practice in continuous expansion.

Auditorio de Tenerife recibe del 11 al 24 de octubre de 2021 la residencia artística Mónicas, un proyecto de investigación de Federico Vladimir Strate Pezdirc y Pablo Lilienfeld.

Se trata de un trabajo inspirado en las pinturas de Mónica Lilienfeld y en las fotografías de Federico Strate y Mónica Pezdirc.

Los creadores explican: "Las Mónicas son nuestras madres. Mónica es también el nombre de nuestra futura hija. En esta primera residencia de investigación trabajaremos durante dos semanas reimaginando nuestra genealogía como una genealogía tentacular y no vertical.

Una ecología genealógica en la que no sólo convivan la épica de las guerras, migraciones y demás relatos patriarcales sino que también incluya las que se han quedado fuera: intimidades, fantasmas y amantes.

Los hechos no son un fin; son el principio."

Mónica Lilienfeld (Buenos Aires 1950- Madrid 1986). Hija de judíos alemanes que emigran a Argentina escapando del nazismo. En 1971 emigra a Madrid, donde acabará siendo secretaria del Director del Banco de España. Madre de dos hijos. Su verdadera vocación es la pintura. Muere de cáncer con 36 años.

Mónica Pezdirc (Buenos Aires 1957). Hija de Domobranci -colaboracionistas nazis eslovenos- que emigran a Argentina huyendo de la Yugoslavia comunista. Odontóloga y madre. En 1990 emigra a Coruña con su marido y sus tres hijos. Nudista y amante del mar, durante toda su vida posa como modelo en las fotografías eróticas de su marido. 

Federico Vladimir Strate Pezdirc (1981) y Pablo Lilienfeld (1983) se formaron como colectivo en 2014. Trabajan y viven en Bruselas desde 2017, donde Pablo completó Research Studios en la escuela P.A.R.T.S. y Federico a.pass Artistic Research.

Su trabajo utiliza la ficción especulativa dentro de la danza/performance, el documental, la fotografía y la instalación para interrumpir las narrativas normativas que han sido naturalizadas por los discursos históricos. Ambos se graduaron en Comunicación Audiovisual en la Universidad Complutense de Madrid, aunque el trabajo personal de Federico se muestra en contextos de artes visuales mientras que el de Pablo está más vinculado a la coreografía y la creación musical. Colaboran con otros artistas como Lina Lapelyte, Janet Novás, Manuel Rodríguez, Marco D’Agostin o Alessandro Sciarroni.

Sus trabajos han sido mostrados en contextos como Kasseler Dokfest (Kassel); TanzHaus (Zurich); NAVE (Santiago de Chile); FIDCU (Montevideo); TEFAF (Maastricht); Sant Andreu Contemporani, Loop, El Grec, MACBA y Salmon Festival (Barcelona); Azkuna Zentroa (Bilbao); Cinéma du Réel, (Paris); Queer Lisboa (Lisboa); Santarcangelo Festival y B-Motion (Italia); Madrid en Danza, Veranos de la Villa, MNCARS, La Casa Encendida, y CA2M (Madrid); TenerifeLAV o Escenas do Cambio (Santiago de Compostela).

Sus últimos trabajos, las Piezas Dragón, han sido desarrolladas entre España y Bélgica con el apoyo de BUDA Kortrijk, workspaceBrussels, WP Zimmer, el Ayuntamiento de Madrid y la Comunidad de Madrid.

Auditorio de Tenerife recibe del 27 de septiembre al 9 de octubre de 2021 la residencia artística Fiestas invisibles, de la creadora Paloma Calle. Se trata de un proyecto de Massimiliano Casu y Paloma Calle con la colaboración de Max Bultó.

Una fiesta invisible es un fragmento del suelo de la ciudad que se eleva convirtiéndose en un espacio escénico para algunas de las innumerables encarnaciones de las luchas por construir un espacio público más abierto e igualitario.

Es un proyecto performativo de naturaleza lúdico-festiva, que propone un ejercicio directo del derecho a aparecer a través de la música y el baile, por parte de algunas de las subjetividades e identidades habitualmente más invisibilizadas y excluidas del respecto al uso del espacio público.

Se basa en un dispositivo escénico inspirado en el famoso Speakers’ Corner de la capital británica, pero también en las discotecas móviles que atraviesan las fiestas de barrios y pueblos del estado español en el verano, que acoge un programa de dj-set y actuaciones ofrecidas por personas que no ejercen habitualmente como pinchadiscos, cuyas vivencias personales serán visibilizadas (y exorcizadas) en forma de eventos de baile en un diálogo performativo entre los protagonistas de cada sesión y Max Bultó, performer recién llegado a la ciudad con un misterioso pasado.

Confiamos en el poder territorializador del disfrute musical compartido y de la alegría de los cuerpos, en esa capacidad intrínseca de la emisión sonora para producir espacios sociales, redes de afectos y oportunidades de encuentro.

Fiestas Invisibles propone una reflexión bailona, encarnada y agitada, en torno a cuánto podemos considerar público un espacio urbano donde, a día de hoy, se siguen reproduciendo inaceptables ejes de exclusión, violencia y desigualdad.

Lanza estas preguntas abriendo un espacio donde personas afectadas por tales reflexiones y vivencias puedan tomar un espacio de visibilidad que no se limite a la denuncia, sino que se centre en la prueba encarnada, sudada y celebrante de qué es lo que la sociedad pierde cuando excluye lo no normativo de la arena pública.

Concretamente, el proyecto propone una serie de performances en forma de fiestas callejeras cuyos dj-set serán llevados a cabo por familias (desde una idea expandida y no biologicista de familia) que, en sus vivencias diarias, desafían los dogmas de lo normativo en sus múltiples vertientes (patriarcales, heteronormativas, binarias, racistas, edadistas y/o capacitistas), y cuya voz y vivencia serán amplificadas por un soundsystem-púlpito desde el que lanzar, desde el roce lúdico de los cuerpos, un mensaje de lucha para la igualdad y celebración de la no-normatividad.

Lo que tendrán en común las familias invitadas a participar es su pasión por la música y su deseo de hacer bailar a la gente reivindicando ese lugar aficionado, puesto que ninguna persona participante será DJ profesional.

Paloma Calle. Madrid 1975.

"Mi trabajo se desarrolla en un territorio híbrido y móvil entre la investigación y creación en artes vivas y al educación no formal

Desde la práctica artística escénica o performativa, propongo un pensar desde el hacer, desde el cuerpo, no tanto desde la palabra y lo discursivo. Busco legitimar saberes o aprendizajes alejados de la investigación entendida de la manera más tradicional o académica. Utilizo el extrañamiento y el humor, así como la autobiografía y las preguntas, como herramientas de trabajo.

Cada vez estoy más lejos de las paredes que construyen el dispositivo escénico llamado “teatro” pero tampoco ese hilo se ha cortado, sólo se ha vuelto más fino y largo.

Mi enfoque se sitúa desde una perspectiva interseccional feminista disidente de la norma  heterosexual.

He trabajado con diferentes instituciones de Europa, Asia y Latinoamérica como: Matadero, Intermediae, La Casa Encendida, CA2M, Facultad de Bellas Artes de Madrid y de Cuenca, MUSAC, Programa Aprendanza, Rimbun Dahan (Malasia), Festival Panorama (Brasil), Espacio NAVE (Chile) entre otras."

Auditorio de Tenerife receives from July 7th to 22nd, 2021 the artistic residency Petróleo, by creator Poliana Lima.

Petróleo is a choreographic project exploring a central idea of the body as a dynamic, disruptive space of archival remembering, forgetting and renewal. It explores the more dynamic potential of conservation over the fixing impulse of preservation.

Tumultuous earthly compressions over time and space transform, solidify and liquify elements deep within the body of the earth.The title refers to the  materiality of this ‘black gold’; its geological formations, extractions, exploitations and its source of energy and power.The project explores the archaeology of this commodity through time, space, people, places and bodies.

Extracting this highly valued source of energy requires exploratory skill and precision, violence and displacement; a powerful metaphor for the deep mining required for the choreographic process. A process in which the socialised, dancing body moves through time and space, through personal and collective strata to  draw deep on sources of power, energy and disruption.

A key autobiographical element in this creative journey is the recently discovered unique story of Poliana Lima’s black grandfather - Antonio Vieira Lima – the son of one of the descendants of the 5.5 million African slaves forcibly transported to Brazil.

This unearthed ancestral biography is contextualised within the broader collectivised and problematic miscegenation policies of Brazilian ‘cultural democracy’ which becomes one of the driving forces for the creative and intellectual ambitions of the  project.

The autobiographical element serves as a forceful catalyst in which to engage in  a whole series of archival acts where mining an individual’s familial history – a purposeful remembering - unearths images, beliefs, memories, dreams, sounds, actions – that resonate beyond the realm of the personal.

The core research imperative of this project is to discover in what ways is an enculturated body formed, made visible and ‘readable’. Equally important to discover is by what means other cultural inflections, influences and practices are negated or marginalised within a dominant evolving national cultural matrix and yet  may  be revealed  through a choreographic archaeology of self.

Through Petróleo, Poliana Lima asks herself the question – who I  am now and what is my potential when what has been hidden from me over the years comes to light and forces me to re-think, acknowledge and celebrate what is possible.

Petróleo embodies the complex emotional and physical explorations required to ‘un-fix’ an existing self. It encourages  self-reflexivity, inviting  the audience to think beyond introspection.The performance event is a catalyst through which energy releasing fractures opens dialogues between archived  history and active forgetting, authenticity and moral authority, homogeneity and criticality.

Petróleo is  an  attempt  to  see  how  a  choreographic  performance work can broaden the scope of identity-based actions which seek to re-confirm differences.The perspective here is to ‘co-join’ in our moves towards self- realisation  and  go  beyond  individual  struggles.The  outcome  of  which  would be to leave behind mere tolerance and achieve a more radical and inclusive solidarity-based universality.The aspiration here is that the choreography activates the audience’s  sense of historical agency.

The audience bears witness to the performer’s energy and determination to excavate a renewing identity, by drilling into ancestral strata, releasing a fluidity, power and force to create a renovating sense of personhood.The performance becomes a form of ritualistic incorporation, joining together the invisible with the visible, the untold with the told, stillness alongside the fluidity of movement,a tangible psycho-geology of the self.

S P Purcell April 14, 2021

Poliana Lima is an 2021 Aerowaves artist with the piece: Things move but they do not say anything. She was an associate Artist at Conde Duque (2018-2020) and a regular collaborator at Centro Danza Canal, both in Madrid. She is a multi- award winning dancer and choreographer, originating from Brazil and now a long term resident in Spain. Exploring the possibilities of a highly functioning minimalistic poetics of the body through identity and memory are key as a strategy to deeply connect with audiences. These thematics directly inform her pedagogic approaches to choreographing, performing and teaching.

“Hammamturgia” (“Hammamturgy”)  is a new research process that will be started by ‘Societat Doctor Alonso’ at the Auditorio de Tenerife from 21 to 27 June 2021.

The collective seeks to formalise this new research in stage format, yet it does not rule out other ways to share the work with the masses. In the last eight years, they have started and undertaken three research processes that have led them to a variety of formats and pieces.

These research processes came to be for two reasons: firstly, the need that the collective's members had to interact and work with different people/creators/thinkers – different from the usual ones. A need to open their way of looking at the world, add new perspectives, questions, came to ways of doing things. Secondly, and looking back on the three pieces of research that came before “Hammamturgia”, the process also came to be out of an obsession that has gradually unfolded in a unique way.

Questioning the learned Western way of looking at things, of relating, and of inhabiting the world… this drive has not abandoned 'Societat Doctor Alonso' throughout all these processes.

Background

During the project entitled "La Glorieta" ("Small Glory"), the initial question was: what is central and what is peripheral in speech: That was followed by: what happens in peripheral speech? it questions key elements of speech and focuses the interest and gaze towards what could be considered peripheral in nature. An intuitive and conceptual approach, and one that already indicated a line along which future, more precise research would follow. "Glorieta" yielded a series of mechanisms and practical sketches –unfinished– that posed many questions and pointed towards ways to continue the search.

The next project "El desenterrador de palabras" (“The Excavator of Words”) worked in a way similar to that of "Glorieta"; that is to say, questioning something or considering it to be in crisis. While in “Glorieta” the pre-eminence of the central aspect of speech was questioned, here the function and ability of words to account for the world that they supposedly define has been questioned by taking two steps forward. Firstly, by explicitly and concretely focusing on a way to work: words. Secondly, by centring the research down a single path and delving deeper thereinto.

While in "Glorieta" many different practices were implemented and varied mechanisms and questions came about, in "Desenterrador" it was decided to focus on a single practice until reaching perfection.  Thus arose the notion of the excavation of words as a group work technique that continues to be employed today and which brought about the ‘textuality’ of the stage piece entitled "Y los huesos hablaron" ("And the Bones Spoke").

"Contrakant" is the collective's third research process. It continues questioning elements of the supposed way of understanding the world to generate a hole or crack through which other realities or perceptions can be seen. Specifically, it proposes questioning the ‘a priori judgements’ of Kant,  according to which we Westerners can only approach and understand reality through structures of space and time that have been previously given to us. Once again, here the intention is to turn around "knowledge" as it is believed to be and as it is thought to work. In this case, by attacking head-on one of the thinkers who this occasion solidly contributed to building the way in which Westerners believe the world can be known.

"Hammamturgia" ("Hammamturgy") is a new step along this path, immersed in something atmospheric, almost innate. it is not so much a question of analysing the functioning of some type of knowledge or mechanism that defines the visible world; that is to say, this time it is not work that is carried out from the outside to find an inside. In Hammamturgy, the step consists of being inside, going through it, being that thing that moves us yet which we don't see.

In research pieces, 'Societat Doctor Alonso' wants to take this trip accompanied by other people and other gazes. They will hold meetings with people engaged in discourses on the body and its 'performativity,' discourses on the Arab world, and discourses on architectural space. They aim to build a space of shared intimacy which features the characteristics of an Arab hammam

A key element:

This research process arises out of the need to understand an intuition. The existence of the “Hammamturgy”. The 'Societat Doctor Alonso' exposes:

"We know that alongside all dramaturgy there is a Hammamturgy. Hammamturgy is something organic that organises, forgive the repetition, what can happen. A happening that is sedimentary. We read dramaturgy, but what really drives change, when it's fair, is Hammamturgy, which, just like dramaturgy, is not life. Hammamturgy would be the ordering of change. Not a narrative of change, but the incursion into change. It is what is outside of you, what really happens. That is why it is important to work on a ritual, because it goes from beginning to end, because it does not leave you halfway, because it is not a part but the whole. The ritual has a fixed liturgy that will allow us to fix our gaze on hammamturgy. And, therefore, two things will happen at the same time. The liturgy of the hammam of the body/cleaning/relaxation, and Hammamturgy, the change, that which is shared.

Why a hammam? Because it is a liturgy that is distant and close to us at the same time. We do not practice it daily and this distance will give us a limit, needed for learning and freedom. It is close to us due to cultural ties and our shared Mediterranean origin. It has a clear and defined liturgy, from start to finish. In one way and come out another, because your body has undergone a process of cleansing and change. The spectators will hardly have time to wonder about anything; they will be immersed in the space and its liturgy, quickly located in the centre of Hammamturgy, because the body is an essential part of liturgy and it is at the centre of the proposal.

In a hammam the perception is in the body. A body that stops, takes off its clothing, cleanses itself with water, is subjected to different temperatures to allow sweat —excess— to be extracted, and is toned. It is the body that receives a massage, stretches, and relaxes; that is renewed.

And perception is made by the context. Spectators who arrive at “Hammamturgia” will be invited to dispose of all their belongings and clothes, they will be given a towel, a bucket, and a sponge. And, equipped in this way, they will access the Hammam.

Their gaze will change without the need to activate anything, being in a closed, intimate space with other people under the same circumstances. Something related to intimacy will inevitably kick in.

Men and women separated. Like a sculptural gesture that first tends to the material and its physical characteristics. The same with the same, because inside the same are all the possibilities.

Men with men. Women with women.

A principle and a decision made out of exhaustive respect for the hammam's liturgy. The space is the first discourse. “Hammamturgy” generates a warm place for cleaning within the city. We will build a moist space, closed, placed on the stage. The stage, where everything should be lighted, visible, exposed, will be occupied by a closed space where the spectators enter. The stage is modified to become a closed space, invisible and hidden to those outside, modifying the position of the spectator who will access the stage and become part of it.

The time of intimacy.

When someone goes to the hammam, they are taking a break, a marked pause in their usual daily rhythm of life. The hammam is a place of cleanliness, silence, and repose. It is a place for a pause."

(*) Image copyright: Photo-book "Many changes are taking place" by Alejandro Granero (2021).

As part of the Reside programme, Auditorio de Tenerife organizes in collaboration with the INAEM, a new artist in residence by the Valencia-born artist Sandra Gómez. Her contemporary dance proposal called "Cartografía de la soledad" ("A map of aloneness") is part of the research project "Solo los solos" ("Singularly singles"). This project aims to deal with the theme of aloneness and solos in contemporary dance in terms of stage practice.

"Cartografía de la soledad” (“A map of aloneness”) proposes a series of individual interviews with current choreographers who have worked ‘solo;’ it examines the reasons that brought them to do so, as well as their circumstances, contexts, and artistic approaches with the aim of finding common elements. The interviews will be recorded, creating a file that will be available to be viewed and/or listened to from a personal website. In the future, this material could be part of a stage piece as video installation art.

In choreographic terms, in the future there will be a practice of movement (a solo) resulting from the different artistic concerns of those interviewed who have passed the personal filter of Sandra Gómez.

Therefore, 15 choreographers or artists who have practised their art in solitude are being called; bodies belonging to the official and non-official history of contemporary dance, like a map of aloneness.

REGISTRATION: This email address is being protected from spambots. You need JavaScript enabled to view it., 922 56 86 00 Ext. 219/104.

The selected candidates will be previously interviewed by Sandra Gómez to gather the necessary information on the artistic and aesthetic profiles of each participant. The in residence takes place from 26 April to 7 May in the hall "Sala Oval Castillo" at the Auditorio de Tenerife. As they are individual interviews, a prior schedule of participation will be established amongst the participants.

On 7 May at 11:00 a.m., a final encounter will take place at the "Sala Puerto" of Auditorio de Tenerife. To participate, send an email to This email address is being protected from spambots. You need JavaScript enabled to view it. (limited places)

SANDRA GÓMEZ.  Choreographer and performer. She has extensive training in contemporary dance and holds a Master in Artistic Production, specialising in Contemporary Thought and Visual Culture (Fine Arts Department of the Valencia Polytechnic University). She also holds an Undergraduate Degree from the Higher Centre for Dramatic Art Studies of Valencia.

From 2001 to 2012, she worked as a creator with the LOSQUEQUEDAN collective on several projects displayed at different national fairs and festivals.

Since 2012, she has been working independently on projects that focus on the body and movement:

"Bailar al sonido" (“Dance the sound”) (Valencia, 2021), “Volumen 2” (“Volume 2”) (Valencia, 2020), "Preludio y fuga" (“Prelude and fugue”) (Valencia, 2019), "Tot per l ́aire" (BAD, Bilbao, 2018), "Heartbeat" (Valencia, 2017), "No soy yo" (It's not me") (Valencia, 2016), "Tentativa" ("Tentative") and "Guests" (Valencia, 2016-2014), "The love thing piece" (Madrid, 2013) and "Tentativa" ("Tentative") (Valencia, 2012).

This research was part of the “Autonomía y Complejidad” (“Autonomy and Complexity”) project organised by ARTEA, and Gómez was part of the working team at CETAE (the Centre for Cross-Cutting Studies Applied to the Stage and directed by Carolina Boluda. She has also participated in the project "Misión divina" ("Divine mission") coordinated by Ana Buitrago, Oscar Dasí and Sergi Faustino. She conceived and coordinated the “Maneras de hacer” (“Ways of Doing”) project and edited the book entitled, “Mejor libro de danza del mundo. Imaginarios sobre danza y otros asuntos” (“The Best Book on Dance in the World: Thoughts on Dance and Other Matters”) – a book which came out of this, her most recent project.