This meeting decision was born from the impossibility of the meeting. Postponement. We are many wanting to see each other for a long time without getting it, so I think that any extraordinary event that happens in my life has to be linked with that desire to respond to something that is real. We’re going to make every Wednesday of the space of Antic Teatre a meeting place. Beyond the convention that in a scenic space someone comes to look at another, I like the idea of using a stage as a place for an old-fashioned gathering. To let us see and also to see who’s coming. So we are going to save a date to see each other, to practice, to talk about things and to spend some time together considering, above all, that this is going to happen around and through our bodies.
March 15: Surrender as the possibility of resistance.
Resistance, considered from the perspective of effort, becomes difficult without a prior surrender, but this is rarely talked about. So, in order to resist, we will first surrender. We will surrender. In the case of movement, resistance begins with the complete surrender of weight and becomes a direction that may or may not end up as a projection. But in every case it becomes a ‘being’; a ‘being traversed by’.
March 29th: Reappropriation and use of the concept of liquidity.
Allowing the water contained in bodies to become a surface for the projection or apparition of meanings. Submerging in its fluidity as a dissident action, providing bodies with a new approach to the idea of action.
April 5th: Fascia as a body structure/Mutualism as a social infrastructure.
Tracing a transversal axis through anatomic-social organisation: the body-structure and social infrastructure. Both tensile structures adapting themselves to different situations by means of a network of resistances that respects mutiplicity. Fleeing from a sole direction and a centralising organisation.
Mar Medina graduated in Art History from Barcelona University while training as a dancer in various European cities; in New York’s Movement Research and with Anne Bogart’s SITI Company. Later, her continued interest in learning about the body in movement led her to the study of Alexander technique.
After working for some time with various dance companies she started to become more interested in processes than in events, and so is now dedicated to the transmission of knowledge and collaborating with other independent projects: with INFRA- (Jara Rocha/Ester Jordana), MovLab, the Antoni Tàpies Foundation in Performing the Museum, MAMBO for Teatron, in ARTAS with La Poderosa or with Clara Tena, Tirso Orive and Aimar Pérez Galí. Her solo work is nourished by both aspects of her work.
