Ri’nawi (word of rarámuri origin): Turn the earth/soil around
“Abalar” (dead word belonging to Spanish language): Though out, take out.
Maybe from a whish provoked by the confinement of these months, in the conceptualization process of Ri’nawi Abalar we sonically evoked ecosystems: Trying to bring inside what is outside and put outside interior landscapes. Probably unconsciously we wanted to dialogue about everything that is “being alive”, from our small apartments.
In those days, one of us read a fragment from the poem “On the surface of things” from Wallace Stevens that says:
“In my room, the world is beyond my understanding;
But when I walk I see that it consists of three or four
hills and a cloud.”
Her artistic practice ranges from choreography, direction, curatorship and being a performer. Her research includes collective rituality, the drive of life from dance, jouissance and the archival body. In recent years in her creative process she has explored choreographic work with citizens in public space by exploring other possible forms of encounter, dialogue and collective affection. Projects such as Úumbal: nomadic choreography for inhabitants and Maravatío, choreographic score for care, encounter and play in collective and more recently Cuerpo de Baile.
Her work has been shared in Colombia, the United States, Indonesia, Brazil, Germany and Japan.
www.marianaarteaga.com
Marta PCampos (Zaragoza, 1990). Master Interface Cultures at Kunstuniversität Linz (Austria). Currently she is a PhD candidate at UPV/EHU Basque Country University (Spain). Her projects have been exhibited at festivals, museums and Art centers. Marta PCampos reflects on the presence of errors in our social interactions and the presence of technology in these exchanges. She aims to create interfaces, installations and experiences which let the visitor reflect on our relationships with the others and the media. She focuses on the language and tools that we use to interact and their influence on us.
martapcampos.com