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TURNING POINTS

Concept and performance: Aura Arreola

 

Collaborators: Fernando Vigueras, Iván Naranjo and Deny Ramos

 

Project supported by the National Fund for Culture and the Arts through Creadores Escénicos 2019.

 

VIDEO LINK: https://www.youtube.com/watch?v=aQ7xJNISXN4&t=7s

 

FLIP 1: https://www.youtube.com/watch?v=n2Q3dxOIXoQ&t=9s

 

FLIP 2: https: //www.youtube.com/watch? V = XPgvI2CIhMU & t = 9s

 

BITÁCTORA: Binácora Stills Folder

 

PHOTOS: Vuelcos Stills folder

Series of short pieces that display a cartography of interdisciplinary collaborations, which are articulated around the overturns, those moments in which life has been suddenly transformed. This map of relationships configures a body that expands its synaesthetic capacities, establishing dialogues with five artists, a neuroscientist and a psychoanalyst to inquire about states in which memory, imagination and sensations are confused.

 

Vuelcos is proposed as an interdisciplinary device between butoh, the expanded scene, immersive, sound, digital and / or interactive art, installation and choreography; that will be developed in a dialogic way with the different collaborations, deepening in a fundamental relationship of the human experience: the Two, the otherness, the communication one by one. With this, my interest is to put into practice the creation that feeds on dialogue, sometimes simultaneous, sometimes intensive, with some constant; that allows to articulate meanings from different perspectives.

 

Each encounter will be a Turnaround: a process in which I immerse my already interdisciplinary fields of action, to the (syn) aesthetic possibilities that will take shape with other people; "Make sense and feel doing". A swing between the somatic and the semantic that I have to build from embodied experiences, in which the sensorium is activated by Carmina Escobar's wide performative range; the sound installations by Fernando Vigueras; the aural and architectural compositions, by Iván Naranjo; suspended textiles, by Deny Ramos; and the choreography of the sensation, by Kakuya Ohashi.

 

It is in this relationship of affects and effects that I propose a rescue of the sensorium, of the provocation of synesthesia and its intrinsic aesthetic power, of my reappropriation of butoh from a multisensory and interdisciplinary perspective. This cartography unfolds not only in the intersection of knowledge, but also in the course of places, encounters, upsets.  Upsides is not posed as something that ends, new twists may emerge, transform, that's how life itself becomes.

 

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