Cerrados y dormidos los ojos bailan
A dialogue between Natalia Fernandes' Anatomía Inventada and Marta Azparren's Cine Ciego.
From this encounter, the two creators begin a research project that proposes the construction of the imaginal body of a possible non-dancer (the one who occupies the negative space of the dancer), the collective creation of its anatomy, as precise as it is impossible, and generating an awareness of the audience’s gaze and their political stance regarding the discourses imprinted on the body in motion.
In a process they always consider open, Marta and Natalia wish to revisit the theoretical and scenic material explored in their first meeting during their stay in Ribadavia, to continue researching and seeking performative strategies for translating this dialogue with the audience with the desire to transform and continue dancing with our eyes.
Natalia Fernandes & Marta Azparren
Natalia Fernandes is a Brazilian performer and creator based in Spain since 2017. Her dance training developed between the university context (UNICAMP) and the São Paulo contemporary scene. She has worked with choreographers in Germany, Israel, Spain, India, and more, as well as a creator and teacher in countries across Europe, the Middle East, Africa, and the USA. In 2017, she began her research on the Anatomía Inventada method and started a series of works in Spain with Jesús Rubio Gamo, Celso Giménez/La Tristura, Poliana Lima, among others. Her most recent creation, El Carnaval No Es Alegre – TINY-DESK, premiered at the TNT Festival 2023 and at Conde Duque – Madrid. In 2024, she is an artist-in-residence at Graner, La Poderosa, and C.C. Barceloneta, where she is researching her practical methodology Anatomía Inventada and launching her new scenic project Objeto Não Identificado – a co-production of Mercat de Les Flors and Conde Duque.
Marta Azparren is a visual artist, not visual. She works between experimental/expanded cinema, live arts, and drawing. Her work usually focuses on artistic activity by addressing the connections between creators, audiences, the work, and the internal machinery of mediation, production, and exhibition. The gaze is also directed toward the non-visual within the visual, which tends to disappear. She is the author of the essay Cine Ciego. Stopping the Flow of Images, on monochrome cinema and images without images.