Snapshot Peru

Lima, Peru

“At the end of the day, when our eyelids kiss each other, everything tends to chaos, the polyphony, the movement and its continuous flow"


Everything starts with a need to find or to experience other ways to communicate or interact with oneself or with others (subject or object), this as a way to quest about situations or States that give a meaning to the practice of artistic life.


Against what begins to 'die' (precarious state), monotony, repetition, stagnation, comfort, conformism, impotence for action and follow the flow of energy, it activates finally a need of impulse, which through certain "expressive instruments" begins to find ways to operate, interact and implement a "State of encounter".

The emergence of the Encounter is done with the space and everything that contains (essences, reverbs, latent and present vibrations) but without longing by prefiguration or prejudgment. However we believe that this is held and exists because of a continuous practice, where we intend to make evident what all possess (essence, reverberation, vibration), and also differences that we have in common.


We believe in the artist as someone who lets a vital testimony of a sometimes hidden but detectable emergency in the performance development, with various tensions and densities of emotivity, which often give rise to unexpected States in the imaginary of the audience- those “present". This "unexpected state" of the "seer" translates in an attempt to find a meaning to the experience, therefore it looks for models relating its varying visual culture and own subjectivity. Therefore, we try to reveal a kind of "power" (energy) that makes explicit our differences through an experience shared under different degrees of intensity.


Intensity emerges, exists and has a different degree and level based one and his relationship with the “other”, then the (status) process consists to express the intensity generated in relation to the “other”, physical and energetically. This process carries with it a challenge for the performace, that strives to consecrate the ambivalence of the "No-equal".

From an evidence of precarity, for example, emerges the need to make visible the wounds that the "flesh" (body) has, this understood as a process, a variation of continuity, that encourages the possibility of envisage physical, emotional, energetic currents which includes the vital and forceful experience of daily basis, and that consequently shows the differences that make us common each other.

Our performance practice requires a research lab-space, that enable the Exchange, discussion and assimilation the finds of the encounter. An environment that convenes diverse "perspectives" on our practice is important to expand the universe of fascinations and interests (scope from the intellectual, emotional, conceptual, psychological, physical etc.), since this fosters new approaches of the artistic community around the "creative (art)-fact".

By community we refer to all those who from the practice, thinking and management seek reciprocity as an interweaving of differences and similarities, which sustains the "Encounter", as artistic pursuit. A certain sort of Co-Immunity

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