• 00:01 Ficciones muy reales
  • 02:15 Figura clave de las artes en vivo...
  • 04:29 Notas sobre la coreografía
  • 07:08 “Empecé a bailar a los 19 años”: el contexto de la transición y la convulsión de los años 80.
  • 08:53 Escaparse de clase de matemáticas, empezar a conocer el entorno gay de Valladolid y descubrir otra manera de relacionarse con la danza y lo femenino.
  • 10:21 Bocanada danza
  • 12:41 Festival Desviaciones
  • 13:52 Arteleku, Blanca Calvo, Ivo Munduate, La Casa Encendida...
  • 15:12 Festival In-Presentable
  • 17:40 “Clean Room” (2010-2019): en la intersección entre las prácticas de curaduría y la creación
  • 18:29 De los celos de las series de televisión a cambiar los parámetros del arte en vivo
  • 21:33 Notas sobre la adicción: crecer con los públicos
  • 23:13 "Clean Room" (2012), primera temporada
  • 25:39 La segunda temporada (2014): ficción y realidad van paralelas
  • 26:18 "Como no hay nada que ver, entonces no hay obra, no?" Forzar el grado de participación, que no significa arte participativo.
  • 27:37 Y luego ya viene la tercera temporada (2016)
  • 29:35 El robo: cómplices necesarios y cómplices secundarios
  • 32:30 "Dirty Room” (2017), el libro. El negativo de la serie
  • 34:10 Las artes visuales
  • 36:12 Lo político
  • 37:35 El cuerpo-realidad
  • 42:59 Experimento "Ejercicio": repensar, reciclar, replantear
  • 43:25 Prácticas en proceso
  • 45:49 Meteos y ya veremos... Un acto romántico excesivo
  • 47:52 Dos momentos importantes en In-Presentable
  • 50:19 “Blue” (2009)
  • 55:06 Sobre lo original
  • 57:02 ¿Y qué hago ahora?
  • 62:02 "My only memory"
  • 65:45 Jugando con el tiempo
  • 70:13 Entre el exceso y la justa medida
10/02/2021 74' 40''

Spanish

Juan Domínguez "Slogan". Photo by Anja Beutler

A key figure in the field of live arts, Juan Domínguez describes himself as “a conceptual clown, magical cowboy, model-poet, and curator of pleasure.” His artistic body of work is situated both in and out of choreography, and champions excess as well as measure. In any case, he never loses sight of the question that guides his practice: “What shall we do together in this present moment to construct reality?” 

In this conversation, despite a nasty cold, Domínguez looks back over his career: from his beginnings as a ballet student in Valladolid to his collaborations with Blanca Calvo and La Ribot in Bocanada Danza, and his ten years as curator of the Festival In-Presentable.  He also talks about his extensive oeuvre, touching on very different works such as All Good Spies are My Age, Blue, the three seasons of Clean Room, Between what is no longer and what is not yet, and My Only Memory.

We talk at length about changing the parameters of live arts, putting a frame on reality, the complexities of participation and co-authorship, and Juan’s efforts to tense time and grow older with his projects and audiences. We also talk about his (admiring) envy of TV series, about robberies, about necessary and supporting co-conspirators, about the body and politics, and about discipline and chaos.

Featuring fragments of "Blue".
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