Especies en Extinción 
VIII  Jornadas escénicas INJUVE
3, 4 and 5 October 2022


3 October 2022

Sede Injuve
C/ Marqués de Riscal, 16

Free admission until full capacity

Carlos Magdalena

Work and Exploits of the Plant Messiah. Conservation of species at Kew Botanic Garden.

Carlos Magdalena is a botanical horticulturist at the Royal Botanic Gardens, Kew, in London. An international lecturer and a global expert on Nymphaeaceae, his work is renowned for his skills in ensuring the survival of endangered plant specimens. In this lecture, Carlos Magdalena will talk about his conservation and recovery efforts for threatened species at the Royal Botanic Gardens, Kew, in London.

Not Tony by Gary Stevens

Not Tony could be described as an extinct piece. It premiered in 2004 and has been presented 7 times throughout this period, with the last performance taking place 5 years ago. In Madrid, it was seen once in 2011 in Festival In-presentable at La Casa Encendida, attended by around 100 people. We wanted to invite Gary Stevens (1953) to perform it again here so that those who were little girls 11 years ago could see it, allowing some of the 100 spectators from that day to reconnect with it, and to find out what has happened to Tony during this time he has remained invisible.

Loose objects are placed on a table to represent the different rooms of a house. The artist puts on a glued beard and introduces himself as Tony. Various members of a dysfunctional family are evoked in an elaborate game where objects like hats, glasses, and beards represent different characters. Communication and lack of communication among family members are reproduced through the performer. The presence of the performer sometimes interferes with the situation, testing the rules of the game, but at other times, it gets lost in fiction, especially when playing the role of a dog.

Not Tony was commissioned by Home as part of the "Performing Kitchen" program and was performed in a private house in London in 2004.

Gary Stevens is an artist and performer who has produced live pieces both solo and in groups. His works bridge the gap between visual arts and theater since 1984. He is an associate professor at the Slade School of Fine Art, University College London.

Conversatory with Carlos Magdalena and Gary Stevens. 20.00-21.00h


4 October 2022

Sede Injuve
C/ Marqués de Riscal, 16

Free admission until full capacity

Let’s fold around by Cécile Brousse with María Infante

Let’s fold around proposes the constant transformation of a space from a roll of paper and a collection of small, medium, and large objects. It's a space-time without a project. A series of gestures or actions whose connection is not predetermined. In the urgency of being here. In the urgency of taking a turn.

Let’s fold around is a performance by Cécile Brousse usually interpreted by herself. On this occasion, we invited Cécile to engage in an exercise of transmitting the piece to María Infante so that she could perform it. María is 13 years old. The piece doesn't have a fixed score but is written each time from a choreographic thought. This experiment involves transmitting this thought to María's body and mind, seeking a contemplative state to observe how things work and to be informed by matter. The practice is subjective, involving feeling and making instant physical decisions in a continuous feedback relationship with the materials. Cécile and María work together to find a new life for the piece in María's body, a new corporeality and thought within Cécile's work. Both the piece itself and this experiment are folds within folds. A world within a world.

Cécile Brousse is a choreographer, dancer, and performer. She creates her own work and collaborates with other artists such as Cuqui Jerez and A.I.M.E/Julie Nioche. She’s regularly invited as an artist in various educational contexts by different institutions in France. Deeply interested in issues of space, she explores and stretches choreographic possibilities with her works Let's Fold Around and Radio Frisson.

María Infante is a student in secondary education (ESO) and studies ballet at the Carmen Roche school.

Desaparezco by Amaia Urra Performance + Book presentation: Tronco, ramas, delta19.00-20.00h

Amaia Urra will talk to us about her publication "Tronco, ramas, delta" a graphic version of the texts from her performances of synonym drifts presented between 2012 and 2015. She will discuss how each text was originally written to be read/sung aloud in public, in specific situations and contexts. On this occasion, she will revisit the first of these, "Desaparezco," which corresponds to a moment of questioning and change in her way of doing, working, living, and which once again makes sense at this moment and within the framework of this invitation.

Amaia Urra (Donostia-San Sebastián, 1974) is an artist. She operates within the displacements of language, and her practice materializes through live actions, sound recordings and graphic formalizations. Her practice presents itself as deliberately light and elusive. Her pieces have been presented and exhibited in spaces, gatherings, and festivals such as Art nomade (Quebec), Axeneo7 & SAW Gallery (Gatineau-Ottawa), the In-presentable festival at La Casa Encendida (Madrid), Bulegoa z/b (Bilbao), the program of activities at the Reina Sofía Museum (Madrid), Zarata Fest (Bilbao), Picnic Sessions CA2M (Móstoles), Héctor Escandón (Mexico City), the 45th National Salon of Artists in Bogotá, and "El sauce ve de cabeza la imagen de la garza" at TEA (Tenerife), or "komunikazio-inkomunikazio" at Tabakalera (San Sebastian), among others. Between 1999 and 2009, she worked with different choreographers such as Jérôme Bel, Xavier Le Roy, etc., and in 2017, she co-directed the Alkolea Beach space.

Conversatory con Cécile Brousse, María Infante, y Amaia Urra 20.00-21.00h


5 October 2022

Sede Injuve
C/ Marqués de Riscal, 16

Free admission until full capacity

Blockbuster.  Javi Cruz and Fernando Gandasegui

BLOCKBUSTER translates into Spanish as "taquillazo": a word or unit of measure of the commercial success of a show. One that, on the less commercial side of show business, usually does not participate. With the disappearance of less blockbuster works, a scene and a set of practices that survive, if at all, in bar conversations and videos also disappear. Blockbuster was the most prolific video rental store chain in history, with 9,000 shops spread across the world. When business began to falter in the year 2000, they dismissed an offer to add a home rental company. That start-up business was called Netflix and it wiped out Blockbuster in the following decade. BLOCKBUSTER names a project we never did: reprogramming stage pieces that we hadn't managed to see and that often came to us in bar conversations or files. We soon understood that the scene leaves behind that reality or furrow where ghosts wander, that we had missed what we most desired to see. Desires brought by witnesses or survivors, who spoke to us of their success, scarcely commercial, of their importance. The only way to see them would have been to program them, to launch into the void the question "would you do it again?" 

Fernando Gandasegui navigates between creation, curation, and criticism in the performing arts. Currently, he coordinates the independent theatrical community Teatron and the FestivalDomingo. Javi Cruz is a visual artist and performer, occasionally a teacher and programmer. He combines the creation of exhibition projects with scenic collaborations and the generation of contexts such as Bosque Real. Together, they have been part of the management team of Teatro Pradillo and the collective PLAYdramaturgia, sharing their work at CA2M, La Casa Encendida, La Poderosa, Festival TNT, Intermediae, PHEspaña, Sâlmon, Artium, Museo Casa Natal de Cervantes, or CCE in La Paz. Thanks to one of Ayudas INJUVE para la Creación Joven, they produced "Los detectives salvajes".

Discussion panel Lila Insúa, Sarah Parolin, Anto Rodriguez, Javi Cruz, Fernando Gandasegui, María Jerez  and Cuqui Jerez19.30-21.00h

The participants in this roundtable are involved in the practice of live art in one way or another, whether as artists, curators, producers, spectators, or educators, and together they are part of a complex ecosystem in constant balance. This is an invitation to a collective reflection on possible forms of sustainability and transformation in the field of performing arts, with the intention of generating spatiotemporal bridges between generations, contexts, and languages.

Why do we consider pieces produced just a couple of years ago as dead? Do we accept their short lifespan? Who or what decides the length of their life? Do we want to keep them alive longer? Are we consumed by the struggle to keep them alive within traditional visibility models? Do we accept their extinction? What does their extinction imply? Is keeping them alive a shared responsibility among the various stakeholders? Can we assume a collective responsibility and reflection to keep live pieces alive? Through what strategies?

Sarah Parolin is an independent dramaturg and producer with experience in the context of contemporary artistic creation and distribution both for performance and visual arts. Over the past few years she collaborated with various independent artists and collectives as well as institutions such as BOZAR, Brussels, BE (2019); Asia Arts Centre, Gwangju, South Korea (2015); Santarcangelo Festival, Santarcangelo, IT (2011 – 2013). She has been accompanying Kate McIntosh’s work since 2014 and is a member of the SPIN collective in Brussels.

Lila Insúa Lintridis is an artist and professor of Projects and estrategies at the Faculty of Fine Arts of the UCM in Madrid, a reader at times, a one-woman band at others, repositioning tasks and desires between part-time and full-time.

Anto Rodríguez is a postdoctoral researcher in Margarita Salas project 'Research, Art, University: Documents for Debate' at UCM. Among his productions are 'Arriba' (co-produced by Centro Conde Duque, Madrid), the feature film 'Frankenstein' (Award for Best Asturian Feature Film at the 51st FICX), the audiovisual series 'Carrizo' (produced by LCE), the stage pieces 'Lo Otro: El Concierto' (presented in contexts such as the Picnic Sessions at Ca2M in Móstoles, MET in Jalisco, Mexico, or FIDCU in Montevideo, Uruguay), 'La Traviata' (Teatro Pradillo and Teatro Español in Madrid), and 'Living in a Music Video: You, Me, Us, and a Karaoke' (produced by Veranos de la Villa, Madrid). Currently, he is researching Spanish copla songbooks and forgotten Spanish LGBTBIQ+ culture in his podcast COLOR JULAY.