I-CorDes - Ninth Session:
ANIMAS - ANIMA – ANIMUS

• Day: March 4
• Time: 11:00 a.m. – 7:00 p.m. (with a break for lunch at your own expense)
• Venue: Aljub
• Paid activity (€ 5) with prior registration and limited places
• Those registered should wear comfortable clothes that can get a little dirty, a small personal object related to their body or someone else’s and a large piece of cloth or a blanket of any fabric.

The ninth session of “I-CorDes. Institut de Corpologies Deslocalitzades” arrives with a programme devised and conducted by Rocío Molina, Niño de Elche and Xesc Reina.

“Every body needs someone else’s breath to survive. From closeness, an air becomes warm caution and the same air a little further away can be a cool relief from the burning. This vital principle runs through the history of all bodies. The corporeal before the incorporeal, the spirit and the flesh, the soul of the living before the soul of the dead and between them, the body. A border area in constant metamorphosis where the psyche acts as a source of consciousness and human intelligence. And thinking is also part of the history of muscles, bones, skin and viscera, the idea of an animus – as the seat of thought – wet with blood, fat, sweat, saliva or tears. All this makes up a symphony of irrigation and sources in continuous sound circulation. There are bruised, mutilated, deformed and even inert bodies but always in movement”. This is how we are introduced to ANIMAS – ANIMA – ANIMUS, the immersive journey proposed at Es Baluard Museu by the trio formed by the bailaora and creator Rocío Molina together with the indiscipline ex-flamenco Niño de Elche and the hybrid butcher Xesc Reina.

The three of them make their meeting a common space from there to develop different shared interests within the framework of “I-CorDes. Institut de Corpologies Deslocalitzades”. An encounter that involves entering or getting closer to the other, listening to what is happening there, smelling what is being cooked there in order to recognise each other beyond your own fortification. In this meeting, nothing is superfluous, everything will be resignified as in the art of flamenco and charcuterie, where the small, the intimate, what we deny to the residual, are an important part in order to continue understanding what shapes us. The theoretical body together with the physical body will be a central part of the practice. The techniques that build the different disciplines that will be brought together will serve as the basis of a corpus of materials with which a varied repertoire of sensorial actions will be developed. In short, an interest in preserving mutual affinities, those that unite us through different identities.

PROGRAMME

The day will be structured in two parts: the first, with a more theoretical and representative introduction, and the second, more performative, depending on how the mass of the group moves, or rather the flesh moves.

BIOGRAPHIES

Rocío Molina is an iconoclastic choreographer and dancer. She has coined her own language based on the reinvented tradition of a flamenco that respects its essence and embraces the avant-garde. National Dance Award in 2010, Max Award 2017 (Best Dance Interpreter; Best Choreography for Caída del Cielo), and in 2015 Best Choreography for Bosque Ardora, Special Award from the Dance National British Awards in 2016, Silver Lion in the Venice Biennale 2022 and Gold Medal of Arts 2022, Molina is one of the current Spanish artists with the greatest international projection. Her pieces (Entre paredes, El eterno retorno, Turquesa como el limón, Almario, Por el decir de la gente, Oro viejo, Cuando las piedras vuelen, Vinática, Danzaora y Vinática, Afectos, Bosque Ardora, Caída del Cielo, Grito Pelao, Trilogía para la guitarra and Carnación) have been seen in important venues around the world (Festival d’Avignon; Barbican Center – London; Bunkamura – Tokyo; Esplanade – Singapore; City Center – New York; Teatro Español – Madrid; Nacional Theatre in Taiwan; etc.) and are recognized by critics and the public as unique stage events in which technical virtuosity, formal research and visual beauty coexist.

Niño de Elche is an undisciplined and ex-flamenco artist who has managed to combine genres such as flamenco, free improvisation, krautrock or electronic, electroacoustic or contemporary music together with poetry, performance, dance or theater in his different artistic proposals. In addition to his thirteen recordings, he has four published books. He has collaborated with artists such as Angélica Liddell, Rosalía, Ernesto Artillo, María Muñoz, Rocío Molina, Raül Refree or C. Tangana, among others. He was one of the Spanish artists invited to Documenta 14 under the proposal “La farsa monea” together with the artists Pedro G. Romero and Israel Galván. He starred in the film “Niños somos todos” by director Sergi Cameron and the filmmakers Marc Sempere and Leire Apellániz made “Canto cósmico” a film based on his life and work. For the Collection of the Museo Nacional Centro de Arte Reina Sofía he developed Auto Sacramental Invisible, a sound representation from Val del Omar.

Xesc Reina is master butcher, creator of flavors and troublemaker in the -sometimes immobile- world of charcuterie. Since April 2015 he has been wearing the Can Company jacket and combines his imagination with the most deeply rooted Mallorcan tradition. Craftsmanship and creativity go hand in hand to create recipes that are as impossible as they are simple, tasty and sincere. Under the protection of Can Company, he preserves and respects culture while rediscovering products and flavors: some forgotten, others yet to be revealed. He investigates the history of Mallorcan cuisine and tries to tell it again in other words but with the same essence. Xesc practices a hooligan, flashy and at times delusional cuisine. His creative delicatessen has successfully dared to gut and color the black pork from the island of Mallorca.