Carmen / Shakespear [ Acte 1]
Ruiz de Infante, Francisco
An unconventional artist, he belongs to a generation whose awareness has been marked by meetings and the confrontation of audio-visual machines with the simplest, even most banal, of equipment. He has no difficulty moving from high-tech to jury-rigged DIY when building his structures and films.
In his work, he reconstructs the way memory works when it feeds the present: the jerky delivery of information that is full of mistakes, or a stream of images that play over and over without end. Francisco questions some of the ephemeral states (present/past/future), some unstable states, a few paradoxes (aquatic mammals/bad apples), several falsely similar dualities (real/imaginary), some TV news (or not) and a few complexes that accelerate the subconscious… among them the body, of course.
Source: L'Est Pôle européen de création
Olga Mesa, a Spanish choreographer and visual artist, presented her first short solo works in New York (1989-1991), after being awarded second prize in the Choreography Competition in Madrid, and first prize for dance excellence, with a scholarship from the Merce Cunningham School.
On her return to Spain in 1992, she created her own company and presented her first long piece, Lugares Intermedios, inspired by her voyage in the Arizona desert: she completed her first site-specific audio-visual work while there. Her desire to develop audio-visual work at the same time as her stage work resulted, in 1995, to her being awarded first prize at the Festival de Tondela (Portugal) for her video “Europas”, which was selected for a travelling exhibition organised by the Museo Nacional Centro de Arte Reina Sofía, Señales de vídeo; Aspectos de la videocreación española (1988-1995).
Olga Mesa’s stage creations would develop in thematic cycles: the trilogy of the body, “Res, non verba” (1996-1999), "Más público. más privado" (2001-2006), "Suite au dernier mot: au fond tout est en surface” - created in 2003 in collaboration with the Catalan visual artist Daniel Miracle. Between 1996 and 2000, she actively participated in creating the non-profit organisation UVI-La Inesperada, with the choreographers Ana Buitrago, Blanca Calvo, Elena Córdoba, La Ribot and Mónica Valenciano, with whom she worked and shared the need to drive the contemporary independent stage creation in Madrid.
In 2005, she was invited by the Théâtre Pôle Sud in Strasbourg to be artist in residence and moved to the city, creating the Association Hors Champ-Fuera de Campo. While in residence, she developed the creative labOratoire “Le Corps Proche", opening a location for communication, formulation and experimentation for young performers and creators.
In autumn of 2007, she was invited to be artist in residence by the FRAC Lorraine in Metz, to be curator of an exhibition of works from her collection. From this project sprang the exhibition "Pratique du (non) visible: en avoir le cœur (corps) net", creating spaces of performance correspondances and interventions from the ideas of invisibility and immateriality within the selected works.
The thematic project labOfilm was developed in 2010-2012 during travelling residences between Spain, Portugal and France. Olga Mesa was artist in residence in Guimaraes 2012, European Culture Capital, in Portugal, where she created the first chapter for labOfilm: “La lamentation de Blanche-Neige", at the same time as the presentation of the evolving facility: "Blanche-Neige, viens. Approche-toi!" and the presentation of a repertory work and production of a publishing project coinciding with her company’s twentieth anniversary.
Olga Mesa directs workshops and creation laboratories using the body as a narrative resource for experimentation, in dialogue with analytical processes linked to other arts (cinema, sound, visual arts, literature).
Source: Cie Hors champs / Fuera de Campo