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The work invites the participants to look and treat the body as material, addressing its organic functions and spiritual potential as well as its cultural implications, holding bodies as biographies affected in different ways by power-over systems. Improvisation, fiction and free movement play are central to access physical states of enhanced consciousness. The work happens in contained frames or journeys that allows for departure, investigation and integration, relies on consent practices, improvisation as mindset, and queer magic as the invisible thread. This laboratory suits anybody who is a fan of bodily expression, approaching dance as a committed zone for personal and mutual liberation. A certain stamina is required, but no specific skill, therefore is open to any moving body. Maria F. She interprets choreographic works, creates dances and hosts dance workshops. Since she is organizing within the queer community as resident choreographer and member of the party collective Lecken Berlin, an erogenous femme forward rave. During pandemic she shidted her focus on technologies for mutual empowerment, re-purposing post-modern dance legacies for somatic activism, giving rise with Heather Purcell and Caitlin Fisher to a space for community building called Social Pleasure Center. As for access needs, please please get in touch with the organizers, who will inform me.

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Vitoria-Gasteiz buy Ecstasy

The genealogy that inserts its roots between conflict and aesthetics, the socio-political commitment and the evolution of thought-aesthetics in a remote geographical area but one which is, in spite of everything, connected to the way of understanding the fractures of post-modernity. That a recent increase in attention towards Latin American art in Spanish academic circles is the result of their late development of post-colonial studies, taken from English-speaking resources, speaks volumes. The colonial era in Latin America concluded prior to the great British and French colonial —capitalist — enterprises in the 19 th century. In Latin America, the colonisers settled, mingled and went native, making it impossible to make a clear distinction between the imposed colonial cultures, the indigenous cultures and those of the Africans taken there as slaves. So there is not, as there is in Africa and Asia, a clear interaction between the traditional environment and another, Western one, the ambivalences of which post-colonial thought has discussed. At the same time, in America there are indigenous communities that remain considerably excluded from the national projects and their mixed-race narratives. Whatever the reasons, this exhibition demonstrates the growing importance of private collecting in the articulation of the market and the circulation and legitimation of art. Contrary to all other artistic manifestations, where the figure of the collector does not exist, the plastic arts are based on fetishized, luxury collectable objects and not on mass diffusion circuits, as occurs with music, film or literature. The latter art forms are by contrast sustained through products that can be downloaded or enjoyed live on the internet, as well as through the traditional collective events of concerts and film screenings, or publications in the mass media. The works we call plastic or visual are still for the most part original physical objects or documents of actions or ideas certified as unique or in voluntarily-limited editions —by way of vicarious originals —which often contradict the possibilities of mass reproduction by the media in which they are created. This occurs with artistic video, which becomes a limited-edition collectable, or even performance, the right of which to be reproduced is bought and collected. The international growth of art fairs is an indication of the flourishing of private collecting and the increase in its power. This is expressed not only through the act of buying —which is an act of curating —but also in the public role of collectors and their heritage collection. And precisely in Latin America, institutions and public events organised on the basis of private collections have increased notably recently cf. Collectors also take part in the boards of public museums, support their budgets and loan their works. In all honesty, the private accumulation of cultural assets implies social responsibility which many collectors have assumed for the purpose of good. Naturally, this responsibility also entails the exercise of power. In the case of this display, the willingness of a group of collectors to loan works to a public museum has allowed Nekane Aramburu to curate a highly interesting exhibition which would otherwise not have been possible. This website uses cookies so that we can offer you the best possible user experience. The cookie information is stored in your browser and performs functions such as recognizing you when you return to our website or helping our team to understand which sections of the website you find most interesting and useful. Strictly necessary cookies must always be activated so that we can save your cookie settings preferences. If you disable this cookie we will not be able to save your preferences. This means that every time you visit this website you will have to activate or deactivate cookies again. This website uses Google Analytics to collect anonymous information such as the number of visitors to the site, or the most popular pages. Deposit private collection. Private collection. Cordia Schlegelmilch, courtesy Kewenig Palma. The Agony and the Ecstasy. Collection Es Baluard artworks included in the exhibition. Daniel Chust Peters Solar 1 Kcho Alexis Leyva Machado Al borde del abismo Curator: Nekane Aramburu with the collaboration of Gerardo Mosquera. Catalogue sponsored by:. Friday 1st July at 7 pm. Finissage activity. A tour to the exhibition with Nekane Aramburu. Tuesday 27th September at 7 pm. Open to the public. Opening hours. Tuesday to Saturday, from The tickets office remains open until 30 minutes before the closing time. Current Exhibitions. Privacy overview This website uses cookies so that we can offer you the best possible user experience. Strictly necessary cookies Strictly necessary cookies must always be activated so that we can save your cookie settings preferences. Enable or Disable Cookies. Third party cookies This website uses Google Analytics to collect anonymous information such as the number of visitors to the site, or the most popular pages. Leaving this cookie active allows us to improve our website. Please enable strictly necessary cookies first so that we can save your preferences! Cookies policy More information about our cookie policy. Active all Disable all Save changes.

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