CINEMÁTICA

A project by Ariadna Rodriguez, Iñaki Alvarez (nyamnyam)
performer Estel Boada, Anat Bosak, Elena Carvajal, Dani Moreno Roldán, Iver Zapata
music and sound design Daniel Moreno Roldán
lighting and space design Anat Bosak
external eye Anne Lise Le Gac
choreographic research collaboration Katerina Andreou
conceptual framework collaboration Helen Torres
produced by Coop Ny Ny SCCL
co-produced by El Canal – Centre d’Arts Escèniques (CAT), Fira-Tàrrega 2025 Creation Support Program (CAT), Life Long Burning (EU), and ICEC (Catalonia Government)
with production support from Joan Brossa Foundation – Centre de les Arts Lliures (CAT), La Caldera – Dance Creation Center (CAT), La Mutant (València), el programa “MIRANDA 2024” de la Université Paul Valery Montpellier 3 (FR), ICICentre Coreogràfic Nacional de Montpellier (FR), Site archéologique Lattara – musée Henri Prades (FR), Duncan Dance Research Center (GR) and Central Elétrica, Oporto (PT)
with the support of Institut Ramon Llull

Cinemática is an archaeological piece that speculates on gestures and activities that we can no longer remember or perhaps do not exist yet. A performance installation that focuses on the genealogy of movement(s) from perspectives that incorporate choreographic, spatial, musical, relational, social, and supernatural aspects. 
Cinemática is also “a remarkable synthesis of the movements of work and everyday life,” a theory developed by Raymond Duncan, brother of the dancer Isadora Duncan, at the beginning of the 20th century. From a critical, non-epistemological approach, a long-term investigation has been developed that revisits this legacy.
Cinemática is an “intermedia” space between audience and performers where the installation takes shape through speculative fiction, live music, poetry, and dance. 

Ariadna Rodriguez and Iñaki Alvarez are nyamnyam. Combining their formations and deformations in various disciplines, their work aims to promote creation, diffraction, and the exchange of knowledge through interaction strategies in each (g)local context where they operate. At this crossroads between live arts, visual arts, critical thinking, and pedagogies, nyamnyam’s work moves between project creation and curatorship understood as a transdisciplinary space of relationship and disruption, challenging the standardized view of cultural commodification.
They have developed various theatrical pieces presented at international festivals such as Festival Les Urbainnes (Lausanne, Switzerland); Radical Hospitality Festival at Blackbox Teater (Oslo, Norway); MIR Festival (Athens, Greece); Danza en la ciudad Festival (Bogotá, Colombia); SALIVA cycle at CentroCentro (Madrid, Spain); Short Theater Festival (Rome, Italy); and ZOOM IN! Festival at Duncan Dance Research Center (Athens, Greece), among others. They have carried out and shared their projects in Spain, Portugal, France, Italy, Switzerland, Norway, Greece, USA, Mexico, Colombia, and Ecuador.
After eight years of activity in their Barcelona space, in 2020 they opened Espai nyamnyam in the micro-village of Mieres (Girona), a cultural cooperative focused on contemporary artistic practice within the degrowth orbit. Their projects have received support from Acción Cultural Española (AC/E) through its Internationalization of Spanish Culture program (PICE), Generalitat de Catalunya (ICEC and OSIC), Creative Europe (European Union), and Institut Ramon Llull (Catalonia).

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