YABBA by María Jerez

Collaborator & Performer

Yabba is a cosmos with its own order, its own rhythm and its own systems in movement that invites you to enter a new logic. A hybrid of different technologies, an amalgam of entities in constant transformation in time, that produce other things in their own coexistence and in the encounter with those who observe them. Things that transpose images, concepts, ideas, emotions that occur precisely at that moment of encounter with the entities of that deformed and changing cosmos. A kind of world that is everything and nothing, is full and empty, that takes all forms but does not yet have any. Yabba is right there, changing. It paints its own colors, it changes its shapes, it unfolds its materiality… This state of constant transformation proposes an attentive look: a look that pays attention from the inability to name what it looks at.


Collaborator & Performer

ARTIFICIALIA is a curatatorial and dramatic project that takes body practice and transformism in relation with Etnologic Museum patrimonial fund. This relationship goes through an expanded Draag Technology and a clear relationship between exotic objects and bodies. A site-specific performance about identity constructions and body politics to revisit the same problems that fly over our history.

Soft Matter, Deep Time


Through interventions in specific places in the environment and a series of devices that blur the natural and cultural lines, we invite the experience and estrangement to be part of a complex ecosystem. Soft Matter, Deep Time activates a multi-species framework where biology, geology, and fiction dissolve.



One morning you look at a cloud and see a figure. You realize that this figure is in you, so you figure you better make friends. The following day you see more figures, figures everywhere! You make friends with all of them, and they become your invisible posse. They guide you, and it doesn’t take long before you are totally relying on them. You can’t live without them anymore.
Some days though, they are mean to you, they manipulate, mislead or even ghost you. On those days you suspect them to be double agents. And you start to doubt whether they are your invisible friends, or the invisible friends of somebody else.

“feelings” wants to be a setting and a dance where feelings are opaque and plastic. Where forms of feelings and feelings of forms overlap, and where it is unclear if what you feel is coming from you or to you.

“feelings” is a practice of spectatorship more than it’s a spectacle. For that reason we offer subscriptions to “feelings” at MDT rather than tickets. All subscriptions are personal and gives access to all sessions.

“feelings” is one part of “analysis”: a long-term research project into the politics of feeling(s). “analysis” is rooted in dance and unfolds in various formats, contexts and collaborations. “analysis” asks questions about the relations between subjects and feelings. Be it the feelings “of” subjects themselves or “of” others. “analysis” starts from the suppositions that feelings are opaque rather than transparent, mediated rather than immediate, and that feelings are something you do (consciously or not) rather than something you have. From there it feels its way forward, trying to contour how such propositions could inform relations between people in dance and beyond.

Nature FR by Mårten Spångberg

Performer in Picnic Sesions CA2M

Nature FR is what it is called but is not its name. Its name is Smokescreen, but the name it is called is Love scene and all of it is live, almost live, half life, undead, screaming dad and then we take a break, maybe. Homeopathic and it’s just so touching.

La Réplica Infiel by Xavier Le Roy & Scarlet Yu in CA2M


Nuria Enguita Mayo has invited Laurence Rassel to work with her on the exhibition “For the unfaithful Replica”. Together they have invited Xavier Le Roy to make a work for that exhibition. Xavier Le Roy has invited Scarlet Yu to collaborate. Together they invite other people in a work called "For the Unfaithful Replica.

Dancing Museums: The Democracy of Beings


Quim Bigas with Paul Guenot, Kotomi Nishiwaki, Iver Zapata, Clara Tena, Laura Ramírez, Rosalía Zanon, Clementine Télesfort

Choreography by Quim Bigas and six artists consisting of a series of actions based on the "Dancing Museums: The Democracy of Beings" project, developed previously and transmitting to the artists.

The artists will establish an organic connection between the Mercat de les Flors and the Joan Miró Foundation, with the background of the landscape that surrounds them and at the same time separates them. There will be actions inside and outside the two institutions and also at different points in an extensive intermediate space. The global activity contemplates a bidirectional process, from one cultural facility to the other, and vice versa. This reciprocity is representative of a sustained dialogue between the two institutions in the course of the "Dancing Museums" project, but also of the fluidity of the processes, with an often imprecise beginning and end, like the lines of Joan Miró that run through the space or the works.

Although these actions could be mapped, they do not exactly constitute a linear itinerary. The performances or interventions in the spaces are like beacons or triggers that appeal to the people, to the spectators who wander from one place to another attracted by these sparks. However, these actions are, in a way, mirages. On the one hand, the artist opens the possibility of a relationship with the public, although as the public approaches the mirage vanishes, and the public does not reach it. The public is an active part of a choreography that is built with the process itself. The actions pass fleetingly, like a kind of ghost dance; they are ephemeral: “Art can die, what counts is that it has spread germs on earth” (Yvon Taillandier, Miró: Je travaille comme un jardinier, 20th century, February 15, 1959).