If the show is called Manipulating liquification in an undisciplined way and my starting point is a lack of discipline, I’d have to start manipulating right from the beginning. I’ve known for some months now that my work will be programmed at Antic Teatre. We still have to get through winter before spring arrives. But this programming business means that you’re asked a long time in advance to fill out a form and write a synopsis. I’ve been trying to avoid handing in this text. I would have to start practicing allowing things to slip away from me.
The truth is that this is how I do things, but sometimes I’m in a hurry and I forget. In this liquid reality I lack time. And if capitalism is an abstraction and I am material, my condition is liquid, as I’m 65% water. I will try to formulate from this liquid preeminence new forms of resistance, making a dive into my own flux as a dissident action to endow my body with a new agency around the action. It seems to me that what resists is like water, which holds nothing that doesn’t float and welcomes that which sinks. I didn’t learn to dance in order to dance well, I move in order to understand things.
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.