Documentation

Context and Artistic Process

Conceived specifically for the architecture of the National House of the Bicentennial, the performance abandoned the conventional separation between stage and audience. Instead, choreography emerged through the spectators’ movement across the building, where elevators, corridors and exhibition rooms became part of the scenic composition.

Each couple embodied a distinct emotional landscape. Instead of virtuosity or theatrical display, the work privileged intimacy, proximity and the subtle emotional codes of tango social dance. Different performances unfolded simultaneously, allowing each spectator to construct a unique dramaturgical path through the space.

Presented during the 10th Cambalache Festival, while the museum hosted an exhibition dedicated to love, the intervention established an unexpected dialogue between contemporary visual art and embodied tango practice, transforming the exhibition itself into an active theatrical environment.

As Co-Director, I collaborated with José Garófalo and Diego Ernesto Rodríguez in developing the project’s site-specific dramaturgy and choreographic structure, exploring how movement, architecture and spectatorship could generate an immersive performative experience.

As Co-Director of Compañía Tragicómica Tanguera (2011–2015), I contributed to the company’s long-term artistic research, developing site-specific performances that reimagined tango through theatre, choreography and public space, alongside my credited role in this production.

Press

“The performance surprised audiences by breaking conventional viewing habits… Rather than presenting tango as spectacle, it invited spectators to wander through the museum, discovering intimate encounters that unfolded naturally within the exhibition spaces. The dialogue established between the performances and the museum’s exhibition on love created a remarkably cohesive experience.”

— Mariela Verónica Gagliardi