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

Coming up:

17.12.2017
Methods Of Dating
You look like 40 miles of rough road anyway

Whether attracted or not, connected, communicative, comfortable or not, things stay and pose on the ground with the calm of fuelwood just placed on a campfire.

P/////AKT, Amsterdam

&
15.12 – 16.12.2017
Performing The Guardians Of Sleep by David Weber-Krebs

KAAI theater, Brussels

Two feet far from the back of another head. 2017

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

Exerpt of the performance at FLAM festival 2017

The performance is composed of six performers each situated in a different room of the gallery. Six isolated figures as containers of a singular quality and attitude, individually performed, and emphasised in the moments of proximity. In this way, the animation of these figures is different from one another but as well associated to one another within the movements developed from the position, direction, timing and the occasional contact between the performers. Bowling balls are rolling through the space, balls diffusing smells are spread over the rooms, and objects almost invisible to the passing-by-eye are used by the performers to articulate movement. These figures neither move alone nor together but are in transition between connections and disconnections.

Concept and choreography: Alondra Castellanos Arreola. Performance: Masaki Komoto, Martin K. Pedersen, Yookyung Park, Charlotte Mathiessen, Charlotte Petersen & Luuk Weers. Assistance: Christie Bakker. Video: Chun-Han Chiang. Advise: Tchelet Weisstub & Jay Tan. Duration: 2 hrs. Location: Arti et Amicitiae (FLAM Festival 2017), Amsterdam. Support: AFK (Amsterdam Fund for the Arts) & FLAM festival.

The Weathers They Live In (performance). 2017

It is a simultaneous presence of warm and cold air on our body that can make us as
sensitive to a present moment where any wish for a place elsewhere is suspended for some time.

Opening at Punt WG, 13th of May 2017

The performance is composed of one industrial ventilator, three electrical blow-heaters, and three human performers. The pronounced temperature of these machines produce a sound and the relays click while switching the machines on and off. There is a very technical setup, scripted and appropriated in its character: a board of relays, cables, a microprocessor as well as adjacent electricity cords that run visibly in the space. It seems, as if a weather has been imported inside an exhibition space, bound to the performance of certain machines and their newly-industrial aesthetic.

The role of the human performers in here is somewhat passive but highlighted by two movements. First, the three performers lower their legs in slow motion, showing immense power in the (mechanical) joint of their hips. The body temperature is visible as the performer's skin is increasingly changing colour of their cheeks and hands, emphasizing the pronounced temperatures of the space that is everywhere noticeable in the room, but nowhere visible. Second, the performers move in a round shape motivated by a dialogue happening between two automated machines performing under a previously programmed script. In this way, the three human performers move conditioned to the rhythm that these machines perform. At the same time, and as a consequence of the orbiting movement of the three performers, the visitors are forced to move backwards against the walls, leaving a large space in the centre somewhat cleared for the two streams of air – hot and cold – to blow out and be circulated by the performers.



The Weathers They Live In was a group exhibition initiated by Nicola Arthen. It included a reading by Baha Görkem Yalim, a performance by Alondra Castellanos Arreola, a large-scale installation by Nicola Arthen, and a sound work of Dan Walwin. Full documentation.

Choreography: Alondra Castellanos Arreola. Performance: Loes Schaap, Erin Lamontagne & Alondra Castellanos Arreola. Duration: 25 minutes. Location: Punt WG, Amsterdam

6mm for an actual instrument. 2015

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 see in one day resembles the amount of images that somebody would be able to see in its whole life back in the middle ages. Glass is one of the materials that has more influence on the incorporation of an external (artificial) apparatus as had been first realized with the use of lenses and further developed into all kind of image transmitters nowadays.

Exerpt. Frascati theatre, Amsterdam 2015

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 a 62 kilos glass plate, the performance serves as a measurement and interval from one point to the other.

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

Wall Piece. 2015

The city is still while life is walking around.
There is a beautiful attribute to things that 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.

The audience is sitting on a tribune on both sides of a wall that has been placed in the middle as an intervention to the actual theatre space.
 It is breaking the space of the tribune in two, coming from behind the audience, all the way down the tribune entering half onto the stage.
 It is three meters high and seven meters long. This wall stands as a frame or set-up that defines the range of vision, in correspondence with a choreography made for two performers. It is built as an intruder among what we, as audience, can claim ours. An intruder that can easily take the position of a boundary disabling the chance to see it all, but that gradually reveals the other. It is there as a confirmation of the one and the other as fundamental parts.

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 get into stillness together with the wall and the rest of the room around them.

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

Bench. 2014

A bench as a performance in public space during four hours exhibition.

A station for time out, Nieuwmarkt. Amsterdam, 2014

The proposal consists in building 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.

A station for 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.

Concept & Performance: Alondra Castellanos Arreola. Dimensions: 46cm x 58cm x 1.90m. Duration: 4 hours. Location: Nieuwmarkt, Amsterdam

Monocular Monocular. 2013, 2014

One might live surrounded only by coconuts.
 A choreography for two performers and thirteen coconuts.

Lindengracht 93, Amsterdam 2013

The choreography is inspired by the animation films of Japanese artist Atsushi Wada. It works from the understanding of an animated figure in which 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.

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.

Choreography: Alondra Castellanos Arreola and Thibault Maillard. Sound: George Dhauw. Advise: David Weber-Krebs and Katerina Bakatsaki. Duration: 45 minutes.

2013 Lindengracht 93, Amsterdam (NL), 2013 Stamm, Porrentruy (CH), 2014 Kid Ailack art hall, Tokyo (JP).

3.3.1. 2013

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 gaze all the way, with a set 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
collectiviteit.

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

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

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

Education

2011–2015
BA Performing Arts/MIME Opleiding at De Theaterschool of Amsterdam, AHK, The Netherlands

2004-2008
BA Fashion Design at University Jannette Klein, Mexico City

Courses

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

Work

2017
Two feet far from the back of another head, FLAM Festival, Arti et Amicitiae, Amsterdam, The Netherlands
2017
The Weathers They Live In (performance), PuntWG, Amsterdam
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

2017
The Guardians of sleep by David Weber-Krebs, Germany and Belgium
2016
Molecular Love by Mercedes Azpilicueta, Rijksakademie van beeldende Kunsten, Amsterdam, The Netherlands
2016
The Guardians of sleep (confidential version) 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
Testamento by German Jauregui, México city, México
2009
A la Griega by Rafael Garzaniti, Guadalajara, México

Grants

2017
Project grant, AFK – Amsterdams Fonds voor de Kunst, The Netherland
2015
Jan Kassies prize – de Theaterschool fonds, The Netherlands
2014
Internationalisation grant under a personal invitation, AHK Amsterdamse Hogeschool voor de Kunsten, The Netherlands
2014
Stichting Bekker – La Bastide fonds, Rotterdam, The Netherlands
2013
SSvS Schuurman Schimmel van Outeren Stichting fonds, The Netherlands
2012
Talent grant – Amsterdamse Hogeschool voor de Kunsten, The Netherlands