Creation Residence

Impressions is a contemporary dance piece that invites the public to experience the world through a lens of sensations, evoking the ever-changing, but deeply resonant, impressions that leave the passage of time. Inspired by the aesthetics of impressionism and with music by Claude Debussy and Maurice Ravel, the work reflects on how the footprints that people leave in us last beyond time, engraving themselves deeply in our souls.

LA INTRUSA is a contemporary artistic creation company formed in 1996 by Virginia García and Damián Muñoz, creators and artistic directors. They create, direct and produce scenic and audiovisual projects. They combine their own creations with choreographic commissions (Carte Blanche – Norway, Delphi – Mexico, Le Groupe – Ottawa, etc.) theatrical collaborations and advertising. He highlights his teaching work in prestigious national and international schools and choreographic centres. (Dance Theatre School, SNDO -Ansterdam, B12- Berlin, EPDM- Mexico, etc) His creations have been represented in more than 30 countries. He receives the “National Dance Award 2015”: “His excellence in research in contemporary dance delving into the scenic physicality and poetics so identifying his works and for its permeability to integrate new artistic languages that contribute to the growth of the scenic fact.”

In Perspective, a production of Zinetika Festival, is a multidisciplinary performance based on the meeting between dance, architecture and music in non-stage spaces. The performance plays with the perspectives evoking a cinematic atmosphere. It is a unique composition for the Oteiza Museum, since the space and the architectural environment are taken into account, to decide where, how and what dance you want to create. This version has been created together with the students of Generation 5 of La Faktoria Choreographic Centre, musician Juanma Urriza, assistant director Gregory Alliot and artistic director Laida Aldaz.

The proposal is shown at the Oteiza Museum on the 20th anniversary of the death of the Oriote sculptor, being part of the actions planned throughout this year in which the museum also celebrates its 20th anniversary. In addition, it aligns within the projects developed to activate the legacy of Oteiza from interdisciplinarity and contemporary creation.

It is an investigation on the relationship between the polyphonic composition and the choreographic counterpoint where 13 dancers look for their own individual voice in a collective body. The piece makes a musical journey exploring different forms of expression where the human voice is the main instrument.

The common thread of this process is the backbone as a physical place and as a symbol of returning to our most intrinsic place. With codes sometimes more concrete and sometimes more abstract, we want to investigate this place both physical and mental, so that the body is the channel that shapes the images we have generated. In that search, Luz Negra alludes to the idea of giving light, clarifying, both our most visible aspect, and the least visible side, in a desire to return to the heart to build a personal path that will be enriched by the transit encounters.

“The reasons that revolve around the construction of this work are communication and messages, always with a broad meaning. Every message is interpreted and translated. I am sure that each stroke responds to the shape of our face, our hands and how we feel that we touched or were touched. Every gesture, every gesture.”

As the public walks, they will find different scenes inspired by the textures, colours, lights, perspectives and other elements that make up this 16th century building. A show conceived exclusively for this place, a different way of discovering the space through dance, where each corner reveals a surprise.

It is an abstraction on the Concept of Space. From microorganisms to the great constellations of the universe. From an Amoeba to a Nebula, from a Nebula to an Amoeba. The cycle of life as an engine to remind us of the tiny contribution of the human species to the passage of time and the great responsibility we have to preserve what we know.

Carmen Larraz: “The line of choreographic research that I began in her work Elektrical Body continues, looking for inspiration in the electromagnetic force.”

In this creation we focus on the “doors” that we open to direct our intention to the environment, understanding it as a game of energies that sculpt space through movement.