Alondra Castellanos Arreola is a choreographer and performer born in Mexico (1985) and based in Amsterdam.

Currently: 13.05.17 & 14.05.17
Performance in The Weathers They Live In, an exhibition by Nicola Arthen. PuntWG, Amsterdam, The Netherlands.

31.05.17 & 01.06.17
Two feet far from the back of another head, Premier 31st of May
& 1st of June 2017 at FLAM festival, Amsterdam, The Netherlands.

Somebody enters a bath house and minutes later finds themselves in a warm pool among others.

The performance Two feet far from the back of another head is composed of six performers each situated in a different room of the gallery. Six figures as containers of a singular attribute individually performed, that strings from one room to the next. The animation of these figures shifts from consistent gaze to occasional contact between the performers. ⎄ To roll, pull, spin, throw and attach the one to another, or determine a moment for entering-exiting a space, are some of the aspects that will influence the pose, motion and attitude of the performers.

6mm for an actual instrument. 2015
Concept and choreography: Alondra Castellanos Arreola
Performance: Fleur van den Berg & Alondra Castellanos Arreola
Video: Tijmen Hauer
Advise: Emilio Moreno and Rob List
Duration: 45 min.
Location: FRASCATI theatre, Amsterdam

A choreography for two performers and a glass plate (3m x 1.60m x 6mm)

It is understood that the amount of images that we could see in one day resembles the amount of images that somebody could see in their whole lifetime back in the middle ages. Glass is one of the materials that has more influence on the incorporation of an external rather “artificial” apparatus as had been first realized with the use of lenses and further developed into all kind of image transmitters nowadays.

The glass plate in the performance is used as an Instrument / Image catcher. At the beginning, a video showing an overload of images is being projected to the exact size of the glass plate. From there, the glass is being displaced through the room, leaving the projection behind creating new images that are captured due to the glasses transparency and reflection. The movement of the two performers carrying the glass plate is defined by the heaviness and fragility of the material, while it is being lifted and rotated through a linear trajectory in the room. Because of the rhythm and pace needed to move the glass plate the performance serves as a measurement or interval of time from one point to the other.

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Wall piece. 2015
Concept and choreography: Alondra Castellanos Arreola
Performance: María A. Peralta & Samuel Feldhandler
Sound: George Dhauw
Advise: David Weber-Krebs and Rob List
Duration: 45 min.
Location: Lindengracht 93, Amsterdam

The city is still while life is walking around.

There is a beautiful attribute, that things remain in place. It is a generous state on the disposition from such an object to remain still and true to its form in order to be perceived in its most exposed state of being.

It is the state of stillness from where movement can be perceived in its most subtle way.


As a starting point, I placed a wall that breaks the space of the tribune in two. It comes from behind the audience, all the way down the tribune and enters halfway onto the stage. It is three meters high and seven meters long.
I built this wall as an intruder among what we, as audience, can claim as ours. A frame or set-up that limits our vision. This intruder can easily take the position of a boundary disabling the chance to see it all, but the visual obstacle gradually reveals more subtle details of the other. The wall is there as a confirmation of its two sides as equally fundamental parts.


The audience is sitting on a tribune on both sides of a wall that is placed in the middle. Two performers stand up from the tribune where the audience is sitting, each on one side of the wall. A slow movement drags the performers to the wall like two magnets. On this trajectory towards the front the second performer is becoming slowly visible from the other side of the tribune. Once reaching the front wall of the room, both performers enter a state of stillness together with the wall and the rest of the room around them.

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Bench. 2014
Concept: Alondra Castellanos Arreola
Location: Nieuwmarkt, Amsterdam / A station for time out

A station for time out, Nieuwmarkt. Amsterdam, 2014

The proposal consist in the building of a bench to lay down, and place it in a busy square of a city at the service of anybody passing by.

The performance is realized when one person at a time is taken care of during a 20 minute ‘time-out’. The performer is orbiting around the bench where the person is laying down taking a rest.
‘Time-out’ is a space where you can get some shut eye – listen – absorb the city or take a nap. Let yourself be porous in the rush of the town.

3.3.1. 2013
Choreography: Alondra Castellanos Arreola
Music: Stephan Blumenschein
Text: Cindy Moorman ‘Zonder titel (loskomen)’
Location: AHK Theaterschool, Amsterdam

The audience is placed in the middle of the space, divided into three members on each side and located diagonally opposite to each other. The performance starts with the reading of a text followed by the action of walking in circles around the six members of the audience. This movement calls for the audience to move their heads and look, from left to right on one side and from right to left on the other side, in order to follow the performer with their eyes all the way with an interruption at that moment in which the performer is passing behind the opposite audience.

Working from the sound and text, the performance develops in a spatial dramaturgy that introduce proximity as well as perspective while the performer is circulating until it reaches the middle of the space, between the audience, where the choreography unfolds into an imaginary animated ball game happening between them like in a stadium.

“Het Men is overal aanwezig. Het meren-deel van onze handelingen verrichten
weals Men – als onpersoonlijk onderwerp -als onderdeel van een

Ongelijkheid – behoudens natuurlijke en fysieke ongelijkheid – berust op
een overeenkomst. Zij is tot stand gebracht. Of tenminste heeft zij geldigheid
gekregen krachtens een bewilliging door de mensen.

Alle posities binnen de collectiviteit zijn echter tijdelijk. Ze kunnen vertrouwd
en verwacht zijn en precies en het patroon can de gebruiken in een
bepaalde groep mensen passen. Maar altijd bestaat ook de mogelijkheid
van een onverwachte verandering van houding en verhouding.”
– Cindy Moorman

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Monocular Monocular. 2013 and 2014
Choreography: Alondra Castellanos Arreola and Thibault Maillard
Sound: George Dhauw
Advise: David Weber-Krebs and Katerina Bakatsaki

A choreography inspired by the animation films of Japanese artist Atsushi Wada.

We work from the understanding of an animated figure as a possibility to emphasize the gesture and sensation of a character. In the animations of Atsushi Wada we observed how the possibility of emphasizing a texture, a sound or the articulation of an isolated movement are essential aspects in order to transmit the feeling or sensation that a character is going through. Moreover, the narrative is not relying on a story, but instead it is building from a succession of images, that add to the character’s inner-world in relation to what is around himself. This motivation among the texture and aesthetics of Atsushi Wada’s animations, were the source for the development of this work.

Already in cinema, but especially in animation, the possibility of zooming in, creating a Foley to the movement or letting something appear in slow motion, enables the attention to focus onto a specific and finely articulated aspect of the character and its situation. Two stone plates, two speakers, the wall and thirteen coconuts in the space were the elements that we used as means to bring the focus from one detail to another.

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Alondra Castellanos Arreola
Born in México, 1985
Based in Amsterdam
a.castellanosarreola @ gmail . com

2011–2015   BA Performing Arts, de Theaterschool of Amsterdam, MIME Opleiding, Amsterdamse Hogeschool voor de Kunsten, The Netherlands

Courses & Academies
2016   Frascati Sessions – Sarah Vanhee, Amsterdam, The Netherlands
2015   PAF Summer meeting, St Erme, France
2015   TILT Interdisciplinary art platform, Summer Academy, Amsterdam, The Netherlands
2014   MAU Musashino Art University, Master class – Seiji Shimoda, Tokyo, Japan
2011   SNDO Choreography Intensive course, Amsterdam, The Netherlands
2010   L’ANIMA A L’ESQUENA, Celrà, Cataluna, Spain
2010   IMPULSTANZ 2010 Dance program, Vienna, Austria

2015   6mm for an actual instrument, FRASCATI theatre, Amsterdam, The Netherlands
2015   Wall piece, Lindengracht 93, Amsterdam, The Netherlands
2014   Monocular Monocular, KID AILACK Art Hall&Gallery, Tokyo, Japan
2014   Panorama, Lindengracht 93, Amsterdam, The Netherlands
2014   Time/Out, Nieuwmarkt, Amsterdam, The Netherlands
2014   3.3.1. , The Theatre School, Amsterdam, The Netherlands
2013   One & One Wonderland, 24H The Theaterschool, Amsterdam, The Netherlands
2013   Monocular Monocular, Lindengracht 93, Amsterdam, The Netherlands

Working with
2016   Molecular Love by Mercedes Azpilicueta, Rijksakademie van beeldende Kunsten, Amsterdam, The Netherlands
2016   The Guardians of sleep by David Weber-Krebs, Martin Gropius Bau, Berlin, Germany
2016   How can we know the dancer from the dance? by Sander Breure & Witte van Hulzen, Utrecht, The Netherlands
2015   Balthazar by David Weber-Krebs, HAU Hebbel am Ufer, Berlin, Germany
2013   Blaas by Baukje Schweigman, The Netherlands – Italy
2009   Testament by German Jauregui, México city, México
2009   A la Griega by Rafael Garzaniti, Guadalajara, México