the thing, the second & the fist unfolds as a continuous exercise in staging a duet, not only with another human figure, but also with something else; a fiction, a reggaeton, a directed nude photograph, an impossible text, and to work on the things in between, as a way to weaken the immediate link between meaning and that which is perceived. The what that would emerge after working through the how within the practice of the residency.

Dancing through a crisis of the imagination, in which the consumption of images transcends their production and what is seen becomes somewhat pasteurized, the work seeks openings, in-between spaces, where the choreographic can displace itself and – from? – embody abundance.

The piece explores the cracks where everyday fantasy takes shape. It creates a space where different practices overlap and collapse into one another. Through a lo austero y lo cutre, it brings out the magical and theatrical potential of the body and choreography, swinging between dance /danza/ and dancing /baile/.

CUTE & AWKWARD performance emerges from the shadows. In it, “awkwardness” is not a failure, but vulnerability. “Cuteness” becomes a camouflage – a way to survive. Suspended between memory and fiction, the show moves freely between queer meeting spaces and the pop culture fantasy of somnambulism. The creators draw on cultural icons: Warsaw’s first gay cruising bar – “Phantom,” and the hypnotic, melancholic sound of Annie Lennox’s “No More I Love You’s.” Dance becomes an attempt to maintain the eternal creative immaturity of identity, which seeks answers to such questions as: How to reproduce the movement without appropriating it? How to stay connected without holding on by force? How to disappear and remain present at the same time?

In this solo act performed by two persons, the dancefloor becomes a magnetic drift zone. Bodies respond to invisible impulses, and movements develop slowly – as if recovered from someone else’s memory: tentative, shaky, yet precise in their delicacy. Performers dance together; while one of them is influenced by external forces, the other responds to them instinctively. Choreography becomes a flow of energy – a form of promenade on the polonaise, a return to the Polish national dance, and a gesture of being moved rather than moving. Invoking queer spaces becomes a form of symbolic resistance – a way of being close, moving through relationship rather than control.

Fantasy is Gone began as an inquiry into the crisis between the construction of fantasy in the performing arts and the increasing influence of academia and the conceptual field. This crisis is connected to the displacement of artistic practice into universities, partly in response to the lack of funding and resources within the cultural field itself. As a result, the production of theoretical concepts has become part of the way we create and produce fantasy.

Fantasy is Gone positions itself as an homage to certain objects and to the hand as a distinctive means of gesturing around things and producing signs. When a sign is seen, the production of fantasy is added to the production of meaning.

It is a gestural work situated between critique and politics, insofar as it articulates a discomfort within a performance field where there is a growing resistance to producing fictionality.

Uncensored 8 emerged as a kind of conceptual challenge. I began with a page from a chapter of Sara Ahmed's Queer Phenomenology, where she discusses how the position of the table has always been central to understanding the orientation through which Western culture has constructed knowledge - knowledge largely written by white men seated at tables. Since these men produced most of the texts that continue to dominate our thinking and culture, it seemed interesting to approach dance and choreography from the phenomenological space of this simple position, and through theatrical objects as explicit as the table and the chair: central objects of psychological theatre since the nineteenth century, associated with domestication, family scenes, and so on.

In this negotiation with Lola, the performer, we moved back and forth between affirmation and negation in order to understand how a world might begin to be produced through these gestures: affirming the other, negating the other, while orienting the table as a choreographic device.

or the simplest undomestic orientation: taking apart the 8 (eight) from the count of contemporary dance in making sense and phrases, the substitution and subtraction are procedures of the work. what can potentially happen if we interrupt the code ? we might lose ourselves in placing things around. reveal phenomenologies means to think through the first impression of the world. this known-first-old encounter is choreography for us, hope for you too.

in this work are raining methodologies

Marking the end of the conceptual dance with the Z, the reference of the TRIO A work by Yvonne Rainner appears as a reference and as the beginning of the conceptual dance: the mind is a muscle, she said 45 years ago. From this, opening possible utopias of where dance is now located, the response to the archive opens up possibilities of collapse and improvisation on what it means to work with the literalness of certain things ? The specific place given to the imaginary within the piece replies as a counter-proposal to indexicality and the ecological method of re-actualization brings a physicality of excorporation instead of incorporation. This is a whole excuse to contemporize TRIO Z, understanding that the act of locating work in time is now becoming one of the major crises.

Tarot cards, coincidences, philosophy, fulfilling dreams of friends, bringing unconscious from others in space, working on the timelessness, reading future, feeded from what's around, a b c as choreographic dramaturgy structure, birds, Bachelard, air movement and the deployment of deforming imaginary, etc., among others are elements that the work holds during its creation process.

Literal begins with the premise of talking to a ghost on stage. For different reasons, this was not possible, also due to space constraints and possible events. It is a practice that I knew how to do at the time. Talking to entities that are not there, in this case came back as a queer practice of giving entity to what we do not see. To bring from the perisphere what is outside our normative center. This queer practice connected with ghosts brought to the work a blanket of invisibility to what was there, and brought forward other ways of perceiving. Therefore, the signifier of the work is covered. By the fabric that hangs, perhaps, or by the prints that are on the clothes.

Rihanna asks where we have been, the pop icon of today's pregnancy - she asks us where we have gone all this time of reading - and brings us pop, because the ghosts that are not seen, dance to 90's pop.