ICoDaCo_Delete_Account

Items

• Letter Archives to Body Politics
  A collective writing and accumulation of letters as a reflective response to the theme. By addressing the letters to ‘Dear body politics’ ,we sought to personalize the abstract, to bring the distant closer, and to question the systems that shape and claim ownership over our bodies. Through this approach ‘body politics’ became a lived and felt inquiry rather than a concept itself. A written, shared, and archived body held within a community of people
• Transfixation / Body Image
  An exploration of the body as a site of shadow, history, and resistance. This project reflects on how bodies carry untold stories, hidden symbols, and layers of meaning that cannot always be spoken. By confronting discomfort, destabilizing fixed narratives, and questioning how the body is perceived and constructed, the work opens space for new interpretations, allowing the body to rewrite its own destiny.
• Negative Destinies
  A poetic refusal of right and wrong, embracing error, shadow, and imperfection as creative forces. This project uses mistakes as spells, disruptions, and acts of empowerment, dismantling order and allowing chaos, magic, and uncertainty to shape new possibilities. By choosing what is messy and unexpected, the work “dirties” the beautiful and liberates imagination.
• Diagram / mapping / process
  A hand-drawn map created during studio research, tracing questions of identity, community, power, and care. Lines, arrows, and symbols connect the body to ideas of protection, confusion, responsibility, and belonging. The image functions as a thinking tool, a visual score where intuition, uncertainty, and reflection coexist, leaving visible traces of collective and individual inquiry.
• Stuck In Motion.
  “Time” can become subjectively distorted. During a PTSD episode, the brain may have difficulty distinguishing between past, present, and future experiences. As a result, the individual can become trapped in an emotional state that manifests in visceral, physiological responses. Yousef Aref Sbieh
• Miss piggy
  i have visual images in my head. i start there. i make the image first. costume. make-up. shape. then i look at it. then i move from there.
• Pigs in farm
  i find orange suit. big orange. yes. u find pig. not real pig. yes. we in farm. smell funny. yes. Take picture Yes Talk Now Yes The art of improvisation
• Technologies of the Sky
  The inspiration comes from the living world. Observing how light behaves as a living presence, shifting, responding, and existing in relation to its environment. Rather than copying natural phenomena, the work allows these qualities to inform timing, atmosphere, and technical decisions.
• Three points of entry
  Subverting Ritualized Spaces & Traditions Autofiction, Unstable Narratives & Documentary Methods Lament and Shout: The Politics of Voice and Vulnerability
• Mapping
  Something tries to show us where we are and where we might go, drawing lines that feel like guidance and meanings that may or may not be true. Sometimes it looks certain, sometimes it feels like a guess, and often it’s both at once. We follow signs that could be instructions, or maybe just possibilities, and somewhere between clarity and guessing, we keep finding ways
• Feedback2025
  Feedback 2025 Maka Kiladze
• Dance as a shared practice-Back to community
  With this project, many of us, get back the chance to comunicate sharing ideas, methods, backgrounds, experiences... And that is what we enjoy os being artists.
• Wasting VS saving time
  We went back into a conversation we had around this props/set up tier. The time you take untieing a knot... Is it a wasted time? Or is just capitalism what has told history that, in order to "advance" and "make progress" is better cut knots and "save" time. What experience leaves esch action into my body. The proposal is to use this action as a wisdom action in the group.
• phantom steps
  Listen with headphones.
• Witches roar
  The sound of roars, water and wind blending into one
• The same road, different time
  Part of the day I spend on the road, which is often exactly the same road as yesterday, the day before, and a year ago. Yet the feelings about the length of this road always change. Sometimes it drags on for hours, sometimes it feels like a moment, even though according to the clock it always remains the same duration. What happens to us in that stretch between point A and point B? While being on the road, in transport, we stand together in order to move forward. We stand, but we are faster than those who walk. What is time on the road?
• The dance exists before it happens
  The dance exists before it happens Enter Begin
• Dismantling the master’s clock
  “Dismantling the master's clock” is a reference to Audre Lorde's essay “The Master's Tools Will Never Dismantle the Master's House.”
• Affecting and being affected
  This is the live sound generated by the piece ‘La velocidad de las cosas’ performed and created by Mónica García, and premiered in 2011. In the piece, the movement of the body in contact with a metal surface, acting as 6-square-meter floor and equipped with microphones, generated a sound environment that in turn affected the movement. The body affected and was affected in a continuum that, in turn, generated a shared present with the audience.
• Decision making highlights
  Two collective highlights of my Tier2. An exercise in which repetition, listening and syncronization plays an important part an through which I experienced a different method of being alone but staying in the collective. And a workshop we held for a group of women over 65 based on the tasks we experimented with this week.
• SEIZE THE MOMENT / Atrapar el momento
  Seize the moment, Seize the moment, Seize the moment, Seize the moment X 3 Seize X 5 The moment What's up, everyone? We're here with our people, seize it. Shout out to Sticks and Stones. Sticks and Feathers. OHHHH It was worth it! Val
• The body's starting moment, all connecting, and th
  The body's starting moment, all connecting, and then the sound arrives to interrupt the skin
• Poem as a source
  A simple task experimenting with poetry and dancing.
• Sing like you´ve never sang before: KARAOKE
  Practicing singing and voice in a performance set-up. Assigning roles to everyone in the group and changing them. Being always observed and feedbacked.
• Re-using objects from your home in your practice
  Exercise in which you dance, move, play and practise the work with objects. Finding performative usage of the particular thing that is shaping your movement, determining quality, setting the atmosphere, limits you.