Research Catalogue

Focaris parte de la conexión entre el fuego y el hogar como espacios de encuentro, protección y transformación. La obra se desarrolla a través de un diálogo entre la expresión individual y el encuentro colectivo, representado por la reunión en torno a una mesa o una hoguera. Cada bailarín expresa su "fuego interno" en solos apoyados por el grupo, generando conexiones y contrastes a través de la coreografía. La narrativa de la obra está construida bajo la estructura del teatro griego, donde el coro acompaña, enfatiza y dialoga con las acciones individuales. La accesibilidad está integrada en la dramaturgia, transformando la LSC, la audiodescripción y los elementos visuales en recursos estéticos. El papel, como material escénico, simboliza la metamorfosis del fuego: puede ser plegado, roto, iluminado y animado, representando los diferentes estados de la llama y la transmisión de energía. A través de la combinación de movimiento, sonido y visualidad, Focaris no solo busca ser una experiencia sensorial envolvente, sino también un espacio de inclusión donde cada espectador, independiente de sus capacidades sensoriales, pueda conectar con la obra de manera autónoma y significativa.

Work-in-progress for the development of a sensorial piece, first explored during the workshop Augmented Attention Lab.

This exposition documents my explorations of pondering with pine trees. Tämä ekspositio dokumentoi yritykseni miettiä mäntyjen kanssa. Den här ekspositionen dokumenterar mina försök att fundera med furor.

This virtual exposition partially concentrates the experimental works developed during the doctorate in musical performance. Based mainly on the theory of transcreation of Haroldo de Campos (1962-2003), the topic of virtuosity is approached from artistic gestures trying to raise the discussion on what it means to be a virtuoso in the contemporary musical world. Paradoxically, iconic piano technique studies were chosen as the main material,this transcreationist interpretation allows traditional material to be permeated not only by contemporary means and aesthetics, but also questions that reflect on the tradition that made the emergence of these studies possible.

Home page of the Journal of Sonic Studies

Taking as a departure point my experience working with war survivors in Peru, this project investigates how art can enable the collectivization of mourning. I connected my interest in the act of mourning human losses with my experiences living in Athens, Greece, where I encountered depression as a common diagnosis on both the individual and collective levels. If being depressed relates to unresolved mourning processes, what are the objects of loss caused by economic crisis and political disillusion? How can art help us to mourn an abstract loss, such as a political project, a certain sense of dignity, a particular relation with time and nature, or a fixed role in the familial structure? How could mourning be shared to allow communities to reframe and re-signify those objects of loss, towards transforming our relation to the economic and political? Lost and Shared creates dialogue between theory and affective labour, through collective experiences that connect emotions, critical thinking, body and space. The intuitions and questions brought by conversations with Greek activists and artists are the core of the project. Later on, facing the impossibility of working as planned due to the pandemic, Lost and Shared was adapted to the new socializing conditions and to acknowledge how crisis and mourning had become a global concern. Thus, the project ends up proposing the idea of “fertilizing mourning” as a concept in the making - an open invitation to collectively create practices that help us reconsidering the entanglements between life, death, and regeneration. Urgent practices we need today in order to contest the increasing, global processes of loss caused by capitalism.