Alondra Castellanos Arreola is a choreographer and performer born in Mexico and based in Amsterdam.
Publication: 2017 Thinging – Exhibitions
SPRING EVENT - BOOKS & TALKS
at P////AKT, Amsterdam
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.
Steel plate (1.38m x 2.70m x 1mm)
By directing the gaze and affection to the common ground, where all things are holdovers, the performers search for methods of touching, hearing and dating the given surface.
Choreography: Alondra Castellanos Arreola. Performance: Luuk Weers & Alondra Castellanos Arreola. Duration: 45 min. Location: P/////AKT, Amsterdam. Thanks to: Nicola Arthen, Luuk Weers & Rob List.
A performance in response to the exhibition 'The Form of Decay' by Nicolás Lamas. This event marks the conclusion of P/////AKT’s 2017 exhibition program. Curator/writer Vincent van Velsen and artist duo Sander Breure & Witte van Hulzen.
Somebody enters a bath house and minutes later finds themselves in a warm pool among others.
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.
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.
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 circles 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
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 into our body as it had been 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 and 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 from its surrounding 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
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
A bench as a performance in public space during four hours of exhibition.
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 city.
Concept & Performance: Alondra Castellanos Arreola. Material: Painted wood. Dimensions: 46cm x 58cm x 190cm. Duration: 4 hours. Location: Nieuwmarkt, Amsterdam
One might live surrounded only by coconuts. A choreography for two performers and thirteen coconuts.
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).
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
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
BA Performing Arts - MIME at Academy for Theatre and Dance - Amsterdam University of the Arts, The Netherlands
BA Fashion Design at University Jannette Klein, Mexico City