The last dance, the last dance, the last collision of two bodies that destroy each other in the fight. Deconstruction of hierarchies in a choreography that hurts, because it is insolent and direct. A stab at the system. Power game. The last dance before the scream, before liberation. A patriarchal society that drowns out the words of those it does not want to listen to. Interdisciplinary piece of great visual and emotional power.

The last dance, the last dance, the last collision of two bodies that destroy each other in the fight. Deconstruction of hierarchies in a choreography that hurts, because it is insolent and direct. A stab at the system. Power game. The last dance before the scream, before liberation. A patriarchal society that drowns out the words of those it does not want to listen to. Interdisciplinary piece of great visual and emotional power.

A window that reveals the intimacy of 4 women. An invitation to travel to the most hidden places of the soul, opening the doors to secrets that revolve around what hurts more. And internet as a conductor. What is behind the addiction to The new technologies? What void can we not stand?. This piece answers to all these questions with great sense of humour. A dynamic work in which different disciplines are intertwined: dance, theater, cabaret and video. With Joana Castell Palou, Currusca Collado, Amaia Ruiz Garcia and Concha Vidal. Directed by Concha Vidal.

A window that reveals the intimacy of 4 women. An invitation to travel to the most hidden places of the soul, opening the doors to secrets that revolve around what hurts more. And internet as a conductor. What is behind the addiction to The new technologies? What void can we not stand?. This piece answers to all these questions with great sense of humour. A dynamic work in which different disciplines are intertwined: dance, theater, cabaret and video. With Joana Castell Palou, Currusca Collado, Amaia Ruiz Garcia and Concha Vidal. Directed by Concha Vidal.

What happens to the hair that we no longer own? Does it still remember us? Immerse yourself in this site specific exploration of the most enigmatic corners of memory, uncovered strand by strand.

Hairstyles – messy, clean, untamed, coiffured – reflects what we want to show or hide. Chaotic, dirty, ugly, slick, silky, course, wet, oily, unrepentant hair. Hair is a sign of identity, as a distinction of gender, class or mental state. Hair is a way to invent ourselves. A way to inhabit the world. To lose one’s hair is almost like losing oneself. To cut it can be an act of sacrifice, an act of castration.

Taking place in a working barbershop, Concha Vidal delivers a performance of force in this timely reminder that hair is still at the forefront of ones identity, history. A reflection of mental health and social standing, hair reminds us that, somehow, things transcend us and survive beyond us.

In this work of installation art that gradually becomes a performance, Concha Vidal masterfully delves deep into the labyrinth of memory with her richly provocative style. As she reveals an array of hairstyles and wigs she uncovers the confessions of their past owners. Their secrets, frustrations, violence and triumphs unravel one by one. An intense and intimate performance that cuts at our obsession with hair, Concha Vidal’s vividly surrealistic Edinburgh Fringe debut is not to be missed.

What happens to the hair that we no longer own? Does it still remember us? Immerse yourself in this site specific exploration of the most enigmatic corners of memory, uncovered strand by strand.

Hairstyles – messy, clean, untamed, coiffured – reflects what we want to show or hide. Chaotic, dirty, ugly, slick, silky, course, wet, oily, unrepentant hair. Hair is a sign of identity, as a distinction of gender, class or mental state. Hair is a way to invent ourselves. A way to inhabit the world. To lose one’s hair is almost like losing oneself. To cut it can be an act of sacrifice, an act of castration.

Taking place in a working barbershop, Concha Vidal delivers a performance of
force in this timely reminder that hair is still at the forefront of ones identity, history.
A reflection of mental health and social standing, hair reminds us that, somehow, things transcend us and survive beyond us.

In this work of installation art that gradually becomes a performance, Concha Vidal masterfully delves deep into the labyrinth of memory with her richly provocative style. As she reveals an array of hairstyles and wigs she uncovers the confessions of their past owners. Their secrets, frustrations, violence and triumphs
unravel one by one. An intense and intimate performance that cuts at our obsession with hair, Concha Vidal’s vividly surrealistic Edinburgh Fringe debut is not to be missed.

Seduced by Christian Boltanski’s installations of objects, his lights and shadows, and his exquisite way of bathing the objects, one day I wondered what it would be like to inhabit them and “usurp” the voice of each object. This is how Memory in the Shoes and La manena de los locos came about. Memory in Shoes is a journey through the recesses of memory using objects vulnerable to the passage of time, shoes. A testimony, a confession. A ritual with the objects of beings who have died, some loved and others not so much. A space for objects to shout out what their owners did not dare to say; secrets, frustrations, violence and triumphs. Unlike Christian Boltanski, it is in some ways a narrative work that is not open to the interpretation of the viewer’s personal history. In my case, the meaning is closed. In both cases it is an aesthetic meditation on death.

Seduced by Christian Boltanski’s installations of objects, his lights and shadows, and his exquisite way of bathing the objects, one day I wondered what it would be like to inhabit them and “usurp” the voice of each object. This is how Memory in the Shoes and La manena de los locos came about. Memory in Shoes is a journey through the recesses of memory using objects vulnerable to the passage of time, shoes. A testimony, a confession. A ritual with the objects of beings who have died, some loved and others not so much. A space for objects to shout out what their owners did not dare to say; secrets, frustrations, violence and triumphs. Unlike Christian Boltanski, it is in some ways a narrative work that is not open to the interpretation of the viewer’s personal history. In my case, the meaning is closed. In both cases it is an aesthetic meditation on death.

Who has not ever felt the need to leave everything and go into the desert? To erase every footprint and sneak into the very bowels of the dunes?

A poet, a painter and a woman; witnesses of the white, the salt, the desert as a metaphor for an intact interior space. As a starting point in which the accessory fades away to give way to the new, the unpredictable; “creative processes in crisis, vital processes that hit rock bottom in the rough texture of salt and sand.”

Interdisciplinary piece in which theater, installation and video art come together.

Director and author: Concha Vidal
Actors/dancers: Concha Vidal and Pedro Mas
Assistant director: Joana Castell Palou
Music: Masa Kamaguchi (double bass)
Lighting and sound technician: Fabián Pereyra
With texts by Damiá Huguet, Concha Vidal De Valicourt and José Vidal Valicourt
Languages: Spanish/Catalan
Duration: 60’

Who has not ever felt the need to leave everything and go into the desert? To erase every footprint and sneak into the very bowels of the dunes?

A poet, a painter and a woman; witnesses of the white, the salt, the desert as a metaphor for an intact interior space. As a starting point in which the accessory fades away to give way to the new, the unpredictable; “creative processes in crisis, vital processes that hit rock bottom in the rough texture of salt and sand.”

Interdisciplinary piece in which theater, installation and video art come together.

Director and author: Concha Vidal
Actors/dancers: Concha Vidal and Pedro Mas
Assistant director: Joana Castell Palou
Music: Masa Kamaguchi (double bass)
Lighting and sound technician: Fabián Pereyra
With texts by Damiá Huguet, Concha Vidal De Valicourt and José Vidal Valicourt
Languages: Spanish/Catalan
Duration: 60’

In the case of my video-animation of And this is my body, the woman presents herself as a daughter and a mother at the same time. A mother not only a giver of life, but with the power to take it away. A destroying mother. Throughout the history of mythology, no separation has been established between women and nature. And it is this nature-woman binomial that I wanted to talk about in this video. Woman who transcends the stillness and verticality of the tree. That goes beyond your own identity.

Rhizome of images; the mother woman, the girl woman, the victim woman, the destroying woman, the tree-woman, the self-annihilating woman. All of them and none of them erasing their own writing. Derridean women. Women contaminated in a certain way by arboreality, by sin, forbidden fruit and infertility.

In the case of my video-animation of And this is my body, the woman presents herself as a daughter and a mother at the same time. A mother not only a giver of life, but with the power to take it away. A destroying mother. Throughout the history of mythology, no separation has been established between women and nature. And it is this nature-woman binomial that I wanted to talk about in this video. Woman who transcends the stillness and verticality of the tree. That goes beyond your own identity.

Rhizome of images; the mother woman, the girl woman, the victim woman, the destroying woman, the tree-woman, the self-annihilating woman. All of them and none of them erasing their own writing. Derridean women. Women contaminated in a certain way by arboreality, by sin, forbidden fruit and infertility.

Performance-opera. An ode to the mother, to the earth and to all those bodies saturated with colonizations foreign to their own essence. Performance in which different languages, opera, dance, plastic arts and video animation are articulated.
Performance-opera. An ode to the mother, to the earth and to all those bodies saturated with colonizations foreign to their own essence. Performance in which different languages, opera, dance, plastic arts and video animation are articulated.

An interactive experience unlike any other. Be
challenged by Wet’s radically experimental fusion of art
and life.

From the overlooked and underappreciated perspective of Jackson Pollock’s wife,
Lee Krasner, Wet displays with stunning vividness the life of an equally radical
and brilliant painter. She, like many female artists throughout history, was condemned to her husband’s shadow.

Unravelling the hidden barriers women face in the contemporary art world, internationally renowned artist Concha Vidal explores uses her body as a canvas with mesmerising intensity.

This examination of the taboos of love, resentment and the frustrations of the
creative process, this powerfully raw performance shifts the act of painting into a
physically driven cathartic ritual. Wet is a scream. It’s a dance, an exclamation
mark, a question that begins in the body and extends into the History of art.
Wet examines what it means to be a female artist dismissed by a society that
celebrates the male gaze. With her complex blend of theatre, performance art,
dance and modern history, Concha VIdal cuts incisively into the sexism of the art world.

An interactive experience unlike any other. Be
challenged by Wet’s radically experimental fusion of art
and life.

From the overlooked and underappreciated perspective of Jackson Pollock’s wife,
Lee Krasner, Wet displays with stunning vividness the life of an equally radical
and brilliant painter. She, like many female artists throughout history, was condemned to her husband’s shadow.

Unravelling the hidden barriers women face in the contemporary art world, internationally renowned artist Concha Vidal explores uses her body as a canvas with mesmerising intensity.

This examination of the taboos of love, resentment and the frustrations of the
creative process, this powerfully raw performance shifts the act of painting into a
physically driven cathartic ritual. Wet is a scream. It’s a dance, an exclamation
mark, a question that begins in the body and extends into the History of art.
Wet examines what it means to be a female artist dismissed by a society that
celebrates the male gaze. With her complex blend of theatre, performance art,
dance and modern history, Concha VIdal cuts incisively into the sexism of the art world.

In 2017, the Es Baluard Museum in Palma de Mallorca proposed that I create a performance
from the video The wind by Joan Jonas. The wind is a video filmed in 1968 on the snowy beach of Long Island. It is a minimalist work in black and white in which bodies dressed in black and with masks move at the mercy of the wind. Fragmented bodies, divided into a thousand mirrors, which reflect the reality that surrounds them. Bodies attached to other bodies, bodies sealed that collapse in their inability to separate. Organisms that merge and become one. Bodies without faces, bodies without limbs. Bodies without organs.

In 2017, the Es Baluard Museum in Palma de Mallorca proposed that I create a performance
from the video The wind by Joan Jonas. The wind is a video filmed in 1968 on the snowy beach of Long Island. It is a minimalist work in black and white in which bodies dressed in black and with masks move at the mercy of the wind. Fragmented bodies, divided into a thousand mirrors, which reflect the reality that surrounds them. Bodies attached to other bodies, bodies sealed that collapse in their inability to separate. Organisms that merge and become one. Bodies without faces, bodies without limbs. Bodies without organs.