ANTIBODY I

The city: epitomized image of modern times. New York City: one of the biggest urban agglomerations in the world, a place that never stops. Times Square: a tumultuous zone of confluence and passage where the frantic rhythm of New York reaches its maximum level. There, at that exact point, Yesenia’s gradual yet intense movements mark a contrast with the tumultuous character of the space she is in. Her body, her movements, and the performance itself become all antibodies that question individualism and resist consumerism, immediacy, and alienated life in the contemporary world.   

ANTIBODY II

A complex integration of dance, body, and space. A performance that exhibits an organic relation with the soil, the dust, the dirt, the earth… Here, in a performance that takes place in Dolcedo, a small Italian commune, the limits between the body and the space that surrounds it become diffuse. A conversation emerges, one that talks about distances and proximities, of conjunction and disjunction, of joining without disappearing; the art of becoming. 

ANTIBODY III

An incision into the quotidian dynamics of the streets of a small yet globally significant city; thus can be defined the in situ performance at Geneva. In it, the performing body installs itself in the middle of a corridor to break the apparent normality of urban life. Pedestrians, who become spectators, have “no option” but to see, to interact, to acknowledge the presence of a new element, a new symbol in the cityscape. Here, a very specific, context-based form of interaction between the space, the body, and movement becomes actualized.