was created in 2017 and morphed into different versions through:

Les Urbaines, 2019
curated by Ysaline Rochat

RAKETE- Tanz Quartier Wien, 2018
curated by Christa Spatt

Dansmakers Amsterdam - Moving Forward Nomination, 2018
Curated by Suzy Blok

Me Gustas Pixelad_ La Casa Encendida, 2018
curated by Matias Daporta

Frascati Theater, 2017
curated by If I Can't Dance I don't Want To Be A Part of Your Revolution

Uferstudios, 2017
curated by Graduation SNDO

Spider Festival Ljubljiana, 2017
curated by Matej Keizar

ITs Festival Brakke Grond, 2017
Graduation Awards SNDO

Over Het Ij Amsterdam
Containers Programma, 2017

Some

Some

Influenced by the difference of how subjects are presented and watched in visual arts and dance, Zavala constructs scenarios choreographed with the agency of a painter who is hyper-aware of being watched from 360 degrees. Some is a pictorial, cinematic choreography where subjects become objects and objects become subjects in constant mapping of what and who is being watched. The gazed and the gazer are taking agency horizontally. A solo female body, daring to gaze back. The body as a shifting-perspective-vessel, as its own device of mediation.

"[...] I find especially striking Andrea´s usage of landscape dramaturgy and the dispositive of display, which invited us audience to explore the performance over time without following an imposed direction. This open landscape created a curious environment for Andrea's ambivalent female figure, who puts herself under the gaze of camera and audience, while being able to turn the gaze back, regain her agency and reframe herself without asking for a permission"

Ana Vujanovic - review 2018

"[...] Andrea is also busy questioning the performative role of categorization in perception and how this conditions the way we read the signs mediated through these mediums. In Some intervals and frames were inquisitive choreographic bodies in their own right. These diverted perceptual habits and proposed new ones.

With Some Andrea created a pictorial-cinematic-choreography by extrapolating a convergence of different ways of contemplating into a series of figures under ongoing depiction. These were simultaneously presented isolated and surrounded by attending figures that completed them. Images of images in the making were relocated into the theatre site in relation to actual and virtual depicters. Obviously, the theatre site was also converted into one of the protagonists of this plot. Just like the background of an incomplete painting or an isolated fragment of an unscripted film.
The notion of “solo” was as a tool of navigation that provided a fictionalized point of reference in the invested chaosmos. In practice Andrea’s Some rehearsed repeatedly the impossibility of the existence of a “solo”. Not only because bodies presences proliferate at every architectural opening -- through the doors, the balcony, the basement -- but because the images presented referred to the ongoing manufacture of mediated images without suggesting an end to such ongoing circuit of references."

Bruno Listopad - review 2018

click setting icon on video bar : 1080p or 720p for better quality viewing

starring: Nadja Voorham
thanks to: Jessica R Haussen

The video is stretched out of the poem
which was written alongside the performing rehearsals of Some. The poem follows the curiosity of writing as image making, in collaboration with the moving image it stretches the plasticity of text embedded in image and vice versa.

Some is an ongoing practice that, in different forms, plays with the idea of "one" subject mediating "many".

Lately I've been divided into two pictures

not sure which one to choose

for a fortunate apprehension of my body

I opted for the left side

considering the right side too square.

Later I heard a voice screen my body today

and only my left leg ran towards that shout

Leaving behind half of my back and a puddle of hair

I purposed my return after I realise

It wasn't me they were calling

Therefore I kept walking

Walking normally, I supposed, turning into that skin divided.

which transferred into the video as something like...to put music to the texts, to export stories as lyrics, to use lyrics as a choreographic tool that allows words to exist for a bit longer in its temporary meaningfulness, thanks to their nature of being sang, repeated, appearing as subtitles by many voices...

I think of the image I become as working on an oil painting, because the oil takes three days to dry, the image stays emotional and fragile, therefore un-fixed for a while.

photo by Nellie de Boer

<

While making Some, I asked myself to train multitasking by imagining movement
while moving and speaking: visualising diverse contexts and addressees whilst keeping the reference of how may I be watched from the audience´s, camera´s light´s, corner´s, tripod's point of view... I wanted to challenge the tyranny of the screen and the limitation of the frame trying to dissolve the centre of the stage into the agency of the surroundings. This meant to perform in the pre-hall of assumptions, expectations and projections beyond the subject I could control; to then let "many" enter the composed image with a closer relation to the unseen, the multi-dynamic timing of listening, the referencing and the sightseeing of staging.

curated by Ysaline Rochat


curated by Christa Spatt



Curated by Suzy Blok



curated by Matias Daporta


curated by If I Can't Dance I don't Want To Be A Part of Your Revolution


curated by Graduation SNDO


curated by Matej Keizar