How to explain a project so it doesn’t become an account of what has happened but of what is happening and of what could be happening? How to turn a story into a three-day celebration? How to make the lives we live, our history, families and tribes, become something unknown and desirable?
Day 1. Celebrate the passing of time. Antic has turned 50.
Day 2. Celebrate the loss of origins and identities.
Day 3. Celebrate what is public. Desplazamiento del Palau de la Música. (Relocation of the Palau de la Música).
We would like to thank everyone who has helped and encouraged us to celebrate everything we’ve already experienced, and what we haven’t experienced yet but would like to experience again. We would like to extend a special thankyou to everyone who will be helping us to unarchive our origins and our fears, unarchive performance and theory, unarchive history, and unarchive ourselves as spectators. And on this occasion we particularly wish to thank Kurt Cobain, Andrés Calamaro and the Palau de la Música, René Descartes, Saint Giorgio Agamben, the Gnostics and Averroism, Leopoldo María Panero, John Berger, dead people in general, and the audience in particular for their collaboration. We’re expecting you!
We all make capitalism together. TAKE PART!
Juan Navarro has worked since the 90s for companies and directors such as Anita Saij, Dance Lab (Copenhagen), La Fura Dels Baus, Einstürzende Neubauten (Berlin), Roger Bernat and General Eléctrica (BCN), Sara Molina (Sevilla), and Marta Galán (Barcelona). From 2000 onwards he became a regular accomplice to Rodrigo García and La Carnicería Teatro. Between 2014 and 2017 he joined the Humain Trop Humain project at the Montpellier National Theatre, directed by Rodrigo García. He has worked with artists such as Jan Lawers, Markus Öhrn, Anna Boralho and Joao Galante, and Luis Garay, among others. He directed Tala, adaptation of the novel of the same name by Thomas Bernhard, as well as contemporary creation shows such as Fiestas Populares, Agrio Beso, Baby, Nancy Spungen, Pequeño preludio (Inmortal), No-one is an island, and El Bosque. In December 2019 he will be premiering En lo alto para siempre, a piece based on the work of David Foster Wallace.
Óscar Cornago hails from the field of research in Humanist and Social Sciences. His work, which he develops as part of the Higher Council for Scientific Research in Madrid, specialises in performance arts, aesthetics, public art, and comparative media theory. He is part of the ARTEA research team and has authored numerous publications, as well as running courses and conferences in Latin America and Europe, and curating projects, encounters and seminars in collaboration with artists and creation platforms on the subject of theatricality and community, the economics of artistic practices, archive and memory, and the relation between arts and public environments.
His most recent works include Ensayos de teoría escénica. Teatralidad, público y democracia, and collected works such as O teatro como experiência pública, Hacernos un mundo. Ficciones colectivas, and Conversar, habitar. Perspectivas críticas sobre la idea de participación.