Paloma Leyton (Rosario, Argentina, 1994) lives and works in Venice, Italy.
She blended an academic formation in Fine Arts (BA in Fine Arts/Universidad de Granada, 2015; Diplôme National d’Arts Plastiques avec mention/École Supérieure des Beaux-Arts de Nîmes, 2015; Laurea Magistrale in Arti Visive/Università IUAV di Venezia, 2018) with a path in aerial dance, working for different companies in Spain, France, Italy and Norway.

As a daughter of actors-puppeteers, since her childhood her environment brought her close to dance and circus arts, and as a result, today her research is focused on a hybrid territory between visual and performing arts. Her work has been presented among others at Festival Internacional de VideodanzaBA, Screen.Dance Scotland's Festival of Dance on Screen, La Biennale di Venezia, Centre d’Art Contemporain Franco-Chinois, Fondazione Bevilacqua la Masa, Carré d’Art. 

Besides her collaboration at Collettivo Confluenze, she is the founder of Cia. Denkraum and the coordinator of the experimental circus project Cher Lucien, she is co-founder and teacher at the Venice-based aerial dance association Aria Alta, she collaborates sometimes with Vertical Waves Project as a vertical dance performer and she works as an educator at La Biennale di Venezia and Fondation Pinault, after having interned at Solomon R. Guggenheim Foundation.


Paloma’s work orbits around attachment. Attachment (to a person, to an idea, to a territory, to the past...) is here understood as a natural attraction, a human instinct. From its most intimate and fragile form to the laws of physics that bound everything that has a matter. The relationship between gravity and the sense of 'belonging' is in fact the subject of her research (MA, PhD). Physical suspension of the body becomes both a performative principle and a poetic image. Choreography and geography blend together, since to move means to constantly abandon previously inhabited spaces, in seek for new realities. The tension between a suspended body and the idea of roots/rootlessness can open up to new artistic possibilities, whether if they are poetic, visual, performative, relational or even educational.  The reflection on risk and physical instability allows the borrowing of elements and languages that originally belong to circus, dance or theatrical universes. Understanding the word “visual” as a vast territory for experimentation, it is precisely in this blurred border line that these ideas can take shape and become dynamic.


Paloma is currently represented by GALLERGRY, an online platform to promote contemporary fine art by initiative of artist Gryanne Stunnenberg.

(photo - Erik Berg-Johansen, Otta, Norway, 2018)

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