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¿Quien es el habitante de la casa?

 


Guided tour

Who is the inhabitant of the house? Santa María la Ribera


By Diana Cardona, Shaday Larios and Gabriel Yépez
Sound design: Ernesto Malaca

 

A headphone-guided walk around the neighborhood with the intention to explore Santa Maria la Ribera as a landscape of our emotions; the purpose is to transit the spaces and delve into what remains alive.

 

Modern experience inserts precepts into reality that condition the gaze by means of historiographical discourse, turning what is around us into ruinous vestiges that are impossible to inhabit.

 

What is our experience of inhabiting spaces? How do we position and include ourselves within the weave of reality that affects us and touches us in terms of contained and shared emotion?

 

This project is based on observing the environment more closely in order to reimagine its coordinates and inhabit space. 

 

Saturdays at 13:30
January 23 and 30
February 6, 13, 20 and 27
March 5 and 12
April 9, 16 and 23

 

Meeting point: MuseoUniversitario del Chopo
Llimited to 12 participants per session
Photo ID essential
Free


Reservations: elhabitantedelacasa@gmail.com

Last day to reserve before each session: Friday, 17:00



IMPORTANT: a number of places will be available on the day. Ask the Who is the Inhabitant group at the entrance to the Chopo museum.


Duration of tour: approximately 90 minutes For teens and adults

 


 

Diana Cardona. Performing artist, director and physical theater actor. Graduated from the Diploma in Theater of the Body (fifth generation) delivered by the Compañía Teatro Línea. She studied a degree in Drama and Theater at the UNAM’s Faculty of Philosophy and Letters (2003).

She also studied a degree in Restoration of Movable Cultural Property at the INAH-SEP; and a specialism in Psycho-Corporal Therapy. She has taken workshops in dance (Feldenkrais method), somatic education and video creation.

 

She has participated in theater and bodily expression workshops for children, young people and disabled people. She has worked with Isabel Romero, Carmen Mastache, Jean Frederic Chevallier (France) Rubén Ortiz (Mexico), Roger Bernart (Belgium-Spain) and Txalo Toloza-Fernández (Chile).

 

As an actress she performed in Los que van al teatro a versi la baronesa se casa con el conde serán engañados, directed by Jean Frederic Chevallier (2006); El infierno o el nacimiento de la clínica, directed by Rubén Ortiz (2008); and Reposiciones, among others.

 

She participated in the direction, creative process and stage writing for La consagración de la primavera FFF, directed by Roger Bernart (2009); with Txalo Toloza-Fernández she wrote Todos los grandes tienen problemas de piel. She directed the work Taxidermia de la acción.

 

She founded GinGe rLab Práctica Artística, a theoretical and practical research platform for promoting trans-disciplinary work. She was co-director and part of the creative process for Si sólo voy a viviruna vez, quiero ser rubia by Zuadd Atala.

 

She has created works of video art including: Paisaje continuo, selected for different festivals in Chile, Russia, France and Mexico; La infinitaposibilidad de la curva de alcanzar una infinidad de curvas, which was presented at the Spanish Cultural Center inMexico.

 

With GinGerLabshe produced the series Estrategias de reconstrucción, perspectivas escénicas sobre la creación, at the Spanish Cultural Center in Mexico (2013).

 

Shaday Larios. Performing artist, director of the group Microscopía Teatro. Advisor, essayist, teacher, and seminar and workshop leader in the field of contemporary theater and experimental creativity.

 

She studied a doctorate and research proficiency in performing arts at the Autonomous University of Barcelona and Barcelona Theater Institute. She studied the seminars: Training Course for an Inclusive Europe on informal education methods; Invisible Theatre; through the Youth Program of the European Union in Benevento, Italy; and Sensorial Theater on issues of socialexclusion, in Barcelona.

 

She is a graduate in Spanish Literature from the Universidad de Guanajuato. With MicroscopíaTeatroshe has been involved in international activities including the AnimassanioFestival in Italy and the Festival ART Tzoumerkain Greece, among others.

 

Since 2004 she has taught a creative laboratory entitled The poetic sign in the performance space. She has taught at the Universidad de Guanajuato, Universidad Lasalle de León, Universidad de Costa Rica, Center for Choreography Research, National School of Arts in Havana, Cuba, and at the Center for the Arts in San Luis Potosí, among others.

 

She has worked as an advisor and writer on performing arts for La Tempestad, the magazine dedicated to contemporary art and literature. She also writes for the Spanish magazine Titeresante.

 

She has been awarded scholarships for Performance from the Fondazione Bogliasco Centro EstudiLigure per le Arte e le Letterein Genoa (2006); and Theater Research from EulalioFerrer (1999).

 

She won the International Prize for Theater Essay CITRU-Paso de Gato-ARTEZ (2010) for her text Escenarios Post-catástrofe: filosofía escénica del desastre.

 

She is co-director of the project Ficciones submarinas, as part of the Festival del Teatropara el Fin del Mundo (Iberescena).

 

Gabriel Yépez. Artista escénico, director e investigador teatral. Es maestro en Investigación Teatral (études théâtrales, Recherche. Especialité théâtre et arts du spectacle) por la Universidad La Sorbonne Nouvelle, Francia. Titulado con mención honorífica de la Licenciatura en Arte de la Universidad del Claustro de Sor Juana.

 

Estuvo al frente de la Coordinación de Investigación Teatral y Estudios Documentales del Centro de Investigación Teatral Rodolfo Usigli, CITRU/INBA (2010-2013).

 

Ha ofrecido varias ponencias y conferencias, entre las cuales destacan: El ejercicio de la singularidad, en el IV Coloquio de Investigación Teatral en la Universidad Veracruzana; Constelaciones para un corpus escénico, en el marco del ciclo Disección de una mirada, organizado por el 17, Instituto de Estudios Críticos. Hibridaciones escénicas, Coloquio de Investigación Teatral de la Universidad Veracruzana, Xalapa; Modelos interdisciplinarios de la escena, Universidad de Guadalajara; La mirada de un prisionero. Reflexión escénica sobre el espacio carcelario, Centro de las Artes de San Luis Potosí; colaboró en la coordinación del ciclo teórico El cuerpo como escenario de posibilidades, en el marco del 14 Encuentro de Escena Contemporánea Transversales 2011.

 

Ha formado parte de diversas iniciativas artísticas como la Scène Ouverte au Théâtre Mexicain (Paris, 2008) y el Festival de Arte y Migración Latinoamericana Francia Traîts d´Union (Paris, 2007).

 

Su formación académica ha estado vinculada con la práctica teatral en México y Francia. Gradiva (2005) y Les Jours des morts. Spectacle thâtrale d´une tradition  mexicaine (2008) le han permitido la exploración desde la creación y la dirección de puesta en escena.

 

Ha participado como actor y colaborador en las obras Sueño en una noche de verano (2005); No ser Hamlet (2003); El vuelo sobre el océano (2001); y El veneno que duerme (2000).

 

Ernesto Malaca (Chile, 1982). Performing artist, director and theater researcher. He holds a masters in Theater Research (études théâtrales, Recherche. Especialité théâtre et arts du spectacle) from the Sorbonne Nouvelle university, France. He graduated with honors from the BA in Art from the Universidad del Claustro de Sor Juana.

 

He was head of the Department of Theater Research and Documentary Studies of the Rodolfo Usigli Center for Theater Research, CITRU/INBA (2010-2013).

 

He has taken part in numerous lectures and conferences, including: El ejercicio de la singularidad, at the 4thTheater ResearchColloquium at the Universidad Veracruzana; Constelaciones para un corpus escénico,as part of the series Disección de una mirada, organized by 17, Instituto de Estudios Críticos. Hibridaciones escénicas, Theater Research Colloquium at the Universidad Veracruzana, Xalapa; Modelos interdisciplinariosde la escena, Universidad de Guadalajara; La mirada de un prisionero. Reflexión escénica sobre el espacio carcelario, San Luis Potosí Center for the Arts; he also participated in organizing the series of discussions El cuerpo como escenario de posibilidades, as part of the 14thEncuentro de Escena Contemporánea Transversales 2011.

 

He has participated in numerous artistic projects including the Scène Ouverte au ThéâtreMexicain (Paris, 2008) and the Festival de Arte y MigraciónLatinoamericanaFranciaTraîtsd´Union (Paris, 2007).

 

His academic background has been linked to his theater practice in Mexico and France. Gradiva (2005) and Les Jours des morts. Spectacle thâtraled´une tradition mexicaine(2008) enabled him to explore both creation and direction of staged works.

 

He participated as both actor and collaborator on the plays Sueño en unanoche de verano (2005); No ser Hamlet (2003); El vuelo sobre el océano (2001); and El veneno que duerme(2000).

 

 

Este proyecto fue posible gracias al apoyo de CONACULTA, a través de la Comisión de Cultura de la Cámara de Diputados.

 


 

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Quien es el Habitante de la casa 2

Image: Noé Lazcano

 

Quien es el Habitante de la casa 3

Image: Noé Lazcano

 

Quien es el Habitante de la casa 4

Image: Noé Lazcano


 

 

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