(Creation Residence )
L'animal a l'esquena (Celrà)
From 12/10/2020 to 17/10/2020
Ayara Hernández
Every piece I do begins (or continues) with the desire to work on something latent that is pushing to come out. The process is put together with a group of people in a very intuitive way, trying out a lot of things that often go nowhere, big ideas appearing and fizzling out, crises and discoveries until finally the material is there. At a certain moment the decisions arise that will shape the piece, we lament for what has to be left out and celebrate what remains (that is when the work as such takes its own decisions and responds to its own needs, becoming somehow independent of us). When the piece is performed for the first time our colleagues arrive, and the public, the debate is opened up and we begin to understand what we have made, a living thing. The “new” piece I want to make comes from ongoing concerns from my previous work: “En la sombra de un elefante” (“In the Shade of an Elephant”) and “Retrato de un monstruo” (“Portrait of a Monster”).
For my residency at L’animal I’d like to work on a possible solo version of my most recent piece “En la sombra de un elefante”. The starting point for this work is to use the staging from this piece, along with some images and slogans from “Retrato de un monstruo”. The idea is to take scenes from these pieces and go deeper into them, following my intuition that there is something in them I’d like to continue researching. In these pieces one of the main operations was to be doing at least two things at once, seeing how this produced friction between these two or more actions.
L'animal a l'esquena (Celrà)
From 12/10/2020 to 17/10/2020
Ayara Hernández
Every piece I do begins (or continues) with the desire to work on something latent that is pushing to come out. The process is put together with a group of people in a very intuitive way, trying out a lot of things that often go nowhere, big ideas appearing and fizzling out, crises and discoveries until finally the material is there. At a certain moment the decisions arise that will shape the piece, we lament for what has to be left out and celebrate what remains (that is when the work as such takes its own decisions and responds to its own needs, becoming somehow independent of us). When the piece is performed for the first time our colleagues arrive, and the public, the debate is opened up and we begin to understand what we have made, a living thing. The “new” piece I want to make comes from ongoing concerns from my previous work: “En la sombra de un elefante” (“In the Shade of an Elephant”) and “Retrato de un monstruo” (“Portrait of a Monster”).For my residency at L’animal I’d like to work on a possible solo version of my most recent piece “En la sombra de un elefante”. The starting point for this work is to use the staging from this piece, along with some images and slogans from “Retrato de un monstruo”. The idea is to take scenes from these pieces and go deeper into them, following my intuition that there is something in them I’d like to continue researching. In these pieces one of the main operations was to be doing at least two things at once, seeing how this produced friction between these two or more actions.
