Who are we?
Denkraum is a group formed by visual artist/aerialist Paloma Leyton, multidisciplinary aerialist/handstand specialist Costanza Lovazzano and contortionist/anthropologist/handstand specialist Macarena González Neuman.
We have a common origin, which is the city of Rosario (Argentina). We develop our lives in parallel migratory paths and we have found to share a natural chemistry and common interests. For more details about us, please check our project's dossier. The group was born out of a collaboration between Macarena, Costanza and Paloma during Paloma's MA thesis in visual arts "Sollevamento, sospensione, caduta". Then things grew naturally and we ended up wanting to create an experimental circus show together.
PS - 'Denkraum' means 'thought space' or 'space for thought'. We have lived in different parts of the world, we speak Spanish, English, French, Italian, a bit of Norwegian... none of us speaks German, so we thought that an unkown language was the right name for us, because this is precisely what our project wants to discover. We want to think through invention and experimentation in circus and art, the space for that has to be a show.
“Cher Lucien” is a show that explores the different degrees of stability and seek for balance thanks to the use of a series of original unstable, suspended, scenic devices.
This work orbits around attachment.
Attachment is here understood as a natural attraction, a human instinct common to us all. From its most fragile and intimate forms to the laws of physics that condition everything that has matterand exists: from personal and collective memory to the force of gravity. We seek to explore thedifferent declinations of this phenomenon through a series of scenes and situations, bodies, objects,mechanisms and devices. Gravity is the ultimate attraction, that defines our existence and our matter,
but: how to measure the gravity of a situation? How much does time weight? How much stability isfound in the imbalance, if this is continuous?
The work in suspension becomes an inexhaustible performative source, and a poetic image thatlinks two kinds of movement: choreographic and geographic. That is what underlies in nomadismand migratory patterns. The tension between a suspended body and the idea of rootlessness is forme a starting point, because each movement is in itself a migration, internal or external.
Thus, circus is not limited to a show or spectacle but it also is exposed as a potentially symbolic, visualand performative language. And the show is a tool to develop, practically, a circus and artistic research.
We are very lucky, grateful and most excited, to be supported by the following partners: