Mariana Bellotto

Bio
Performance

Mariana Bellotto was born in 1963 in Buenos Aires, where she currently works and lives.
She is director, choreographer and performer.
She created over 30 pieces for stage, and site-specific productions, which were also exhibited on video at different cultural spaces and international festivals, chief among them are: Centro de Experimentación of the Teatro Colón, Centro de las Artes of the UNSAM, Centre National de la Danse, Paris and Pantin, Montpellier Dance Festival (France), Panorama, Rio de Janeiro (Brazil), Fundación NC-arte (Bogotá, Colombia), Busan Dance Festival (South Korea), Tanzhaus nrw (Düsseldorf) and Künstlerhaus Mousonturm (Frankfurt, Germany).
In addition, she gave workshops and seminars at festivals, cultural centers and universities in Argentina, Chile, Mexico, Venezuela, Cuba, Brazil, South Korea, Egipt, among others.
Her work has received the support of Mecenazgo Cultural, Fondo Iberescena, Goethe Institut, Fonca/Conaculta, Instituto Prodanza, Fondo Nacional de las Artes, Fundación Antorchas and the Argentine Ministry of Foreign Affairs.
Since 2014, she directs the Central de Creación, a space devolted to experimentation, creation, and the production of contemporary works in residence.
She is the founder and director of Grupo Performático Sur, GPS, developing the following projects: Antropología contemporánea del paisaje (site-specific performance) and NEXO/LAB (interdisciplinary training, research platform of creative production of living arts).

Moebius

May 26th
16 hs.

Escalinatas de la Facultad de Derecho (UBA)
Av. Figueroa Alcorta 2263 - CABA

Free Admission

Curated by: Fernando Farina

Moebius explores the possibilities of altering the city’s usual landscape. Bodies will drop in a choreographic reiteration on a strategic city site, the staircase of Buenos Aires Law School. Just like Sisyphus’s rock that comes down and is rolled up again, this sequence suddenly changes the landscape. Seeming pedestrians roll down the stairs only to get up and climb them up again, endlessly, time and time again. In this way, the intervention seeks to set up in a different timeframe, posing a sort of crack or breaking point that oscillates between reality and fiction, chaos and order, between presentation and representation.

The shooting of the sequence with drones, and the possibility of having immediate access to it through mobile phones add another point of view —virtual and zenithal— adding a new view that would be impossible from a human standpoint. Thus consolidating the action’s multiplying force, the idea of a total or totalizing vision that is able to encompass everything: all the landscape’s views, something Sisyphus could only imagine.