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🔥 Una experiencia escénica única llegará al Museo Cabañas.

En el marco de Andrógina Festival Diversa 2026,festival que en esta edición explora el ritual como una forma de transformación y creación de nuevas narrativas,la reconocida artista internacional Orly Anan presenta "Vistas de un Hombre en Llamas", un performance site-specific creado especialmente para el Museo Cabañas.

La pieza toma como punto de partida la fuerza simbólica de El Hombre en Llamas de José Clemente Orozco para construir una experiencia contemporánea donde el cuerpo, el espacio y el simbolismo se encuentran.

A través de danza, instalación y narrativa visual, la cúpula del museo se transforma en un paisaje ritual habitado por imágenes sorprendentes: una mujer que da a luz un volcán, un leopardo que amamanta a un niño y vínculos entre humanos, animales y naturaleza que replantean nuestra forma de relacionarnos con el mundo.

Más que una puesta en escena convencional, Vistas de un Hombre en Llamas propone un recorrido sensorial e inmersivo donde el fuego deja de representar destrucción para convertirse en transformación, apertura y posibilidad.

📍 Museo Cabañas
📅 Presentaciones 28, 29 y 30 de mayo
🕗 8:00 pm
🎟️ Costo: $130
🎫 Boletos disponibles en taquilla del museo de 10 a 17 h
⚠️ Cupo limitado

Una oportunidad para vivir el Museo Cabañas desde otra perspectiva y presenciar el trabajo de una de las artistas performáticas más destacadas de la escena internacional.

We Grow in Circles

We Grow in Circles is conceived as a cyclical ritual structured through six interrelated phases: blessing, preparing, sowing, watering, harvesting, and return. Departing from linear narrative, the work operates as a regenerative system, invoking cosmologies of life, death, and rebirth in which transformation is understood as continuous and non-hierarchical.

Movement is transmitted from body to body, proposing identity as fluid and relational rather than fixed. The performers function as conduits through which energy, gesture, and intention circulate, foregrounding processes of exchange over individual authorship.

Costume operates as an extension of the body, transforming each performer into a sculptural and archetypal presence. Masks inscribed with permutations derived from the 72 Names of God function as active symbolic structures, situating the body within a field of spiritual and linguistic resonance.

Conceived as an open and evolving work, We Grow in Circles resists closure. Its duration and form remain adaptable, reflecting an understanding of growth as an ongoing, generative process rather than a finite event.

Landscape performance, 30 minutes
London, United Kingdom • Ibiza, Spain • Asian Art Museum SF
2025–2026

Next Activation
Presented by @lov.foundation in partnership with @_xtant_
Castell de Bellver
9 May, 17:00
Live music by @juliacolomjuliacolom
Videos from last activation at the @asianartmuseum

Credits
Directed by Orly Anan in co-creation with @lov.foundation
Studio Manager and Production Tai Sans
Costume Department Karina Luna, Diana Martínez, Yolanda Montoya “Yoli” másks: Anais Vasconcelos

Performers
Zara Sands, Rosie Terry, Inti José, René Mamore, Belén Leroux, Ronan Cardoza, Jao Luna, Arsenio Mendoza, David Beitia, Miriam Varela, Cristina Carmen de Uribarri, Estela Cruz, Meena Manoj, Jin Lee Baobei, Delana Motter, Aidan Tailor, Sundari Joseph, Fuchsia

We Grow in Circles

We Grow in Circles is conceived as a cyclical ritual structured through six interrelated phases: blessing, preparing, sowing, watering, harvesting, and return. Departing from linear narrative, the work operates as a regenerative system, invoking cosmologies of life, death, and rebirth in which transformation is understood as continuous and non-hierarchical.

Movement is transmitted from body to body, proposing identity as fluid and relational rather than fixed. The performers function as conduits through which energy, gesture, and intention circulate, foregrounding processes of exchange over individual authorship.

Costume operates as an extension of the body, transforming each performer into a sculptural and archetypal presence. Masks inscribed with permutations derived from the 72 Names of God function as active symbolic structures, situating the body within a field of spiritual and linguistic resonance.

Conceived as an open and evolving work, We Grow in Circles resists closure. Its duration and form remain adaptable, reflecting an understanding of growth as an ongoing, generative process rather than a finite event.

Landscape performance, 30 minutes
London, United Kingdom • Ibiza, Spain • Asian Art Museum SF
2025–2026

Next Activation
Presented by @lov.foundation in partnership with @_xtant_
Castell de Bellver
9 May, 17:00
Live music by @juliacolomjuliacolom
Videos from last activation at the @asianartmuseum

Credits
Directed by Orly Anan in co-creation with @lov.foundation
Studio Manager and Production Tai Sans
Costume Department Karina Luna, Diana Martínez, Yolanda Montoya “Yoli” másks: Anais Vasconcelos

Performers
Zara Sands, Rosie Terry, Inti José, René Mamore, Belén Leroux, Ronan Cardoza, Jao Luna, Arsenio Mendoza, David Beitia, Miriam Varela, Cristina Carmen de Uribarri, Estela Cruz, Meena Manoj, Jin Lee Baobei, Delana Motter, Aidan Tailor, Sundari Joseph, Fuchsia

We Grow in Circles

We Grow in Circles is conceived as a cyclical ritual structured through six interrelated phases: blessing, preparing, sowing, watering, harvesting, and return. Departing from linear narrative, the work operates as a regenerative system, invoking cosmologies of life, death, and rebirth in which transformation is understood as continuous and non-hierarchical.

Movement is transmitted from body to body, proposing identity as fluid and relational rather than fixed. The performers function as conduits through which energy, gesture, and intention circulate, foregrounding processes of exchange over individual authorship.

Costume operates as an extension of the body, transforming each performer into a sculptural and archetypal presence. Masks inscribed with permutations derived from the 72 Names of God function as active symbolic structures, situating the body within a field of spiritual and linguistic resonance.

Conceived as an open and evolving work, We Grow in Circles resists closure. Its duration and form remain adaptable, reflecting an understanding of growth as an ongoing, generative process rather than a finite event.

Landscape performance, 30 minutes
London, United Kingdom • Ibiza, Spain • Asian Art Museum SF
2025–2026

Next Activation
Presented by @lov.foundation in partnership with @_xtant_
Castell de Bellver
9 May, 17:00
Live music by @juliacolomjuliacolom
Videos from last activation at the @asianartmuseum

Credits
Directed by Orly Anan in co-creation with @lov.foundation
Studio Manager and Production Tai Sans
Costume Department Karina Luna, Diana Martínez, Yolanda Montoya “Yoli” másks: Anais Vasconcelos

Performers
Zara Sands, Rosie Terry, Inti José, René Mamore, Belén Leroux, Ronan Cardoza, Jao Luna, Arsenio Mendoza, David Beitia, Miriam Varela, Cristina Carmen de Uribarri, Estela Cruz, Meena Manoj, Jin Lee Baobei, Delana Motter, Aidan Tailor, Sundari Joseph, Fuchsia

We Grow in Circles

We Grow in Circles is conceived as a cyclical ritual structured through six interrelated phases: blessing, preparing, sowing, watering, harvesting, and return. Departing from linear narrative, the work operates as a regenerative system, invoking cosmologies of life, death, and rebirth in which transformation is understood as continuous and non-hierarchical.

Movement is transmitted from body to body, proposing identity as fluid and relational rather than fixed. The performers function as conduits through which energy, gesture, and intention circulate, foregrounding processes of exchange over individual authorship.

Costume operates as an extension of the body, transforming each performer into a sculptural and archetypal presence. Masks inscribed with permutations derived from the 72 Names of God function as active symbolic structures, situating the body within a field of spiritual and linguistic resonance.

Conceived as an open and evolving work, We Grow in Circles resists closure. Its duration and form remain adaptable, reflecting an understanding of growth as an ongoing, generative process rather than a finite event.

Landscape performance, 30 minutes
London, United Kingdom • Ibiza, Spain • Asian Art Museum SF
2025–2026

Next Activation
Presented by @lov.foundation in partnership with @_xtant_
Castell de Bellver
9 May, 17:00
Live music by @juliacolomjuliacolom
Videos from last activation at the @asianartmuseum

Credits
Directed by Orly Anan in co-creation with @lov.foundation
Studio Manager and Production Tai Sans
Costume Department Karina Luna, Diana Martínez, Yolanda Montoya “Yoli” másks: Anais Vasconcelos

Performers
Zara Sands, Rosie Terry, Inti José, René Mamore, Belén Leroux, Ronan Cardoza, Jao Luna, Arsenio Mendoza, David Beitia, Miriam Varela, Cristina Carmen de Uribarri, Estela Cruz, Meena Manoj, Jin Lee Baobei, Delana Motter, Aidan Tailor, Sundari Joseph, Fuchsia

Pollera Vortex is a ritual performance that reimagines the pollera—the traditional skirt of cumbia dancers from the Caribbean coast of Colombia—as a cosmic apparatus. Rather than functioning solely as folkloric costume, the pollera becomes a gravitational force: a vortex linking hips to earth, body to rhythm, and matter to trance.

The work proposes a speculative vision in which the universe unfolds beneath the pollera itself. What appears as fabric becomes a portal—an intimate cosmos in motion—inviting the audience into a state of feminine, erotic, and ecstatic activation. This trance is not framed through binary notions of femininity or masculinity, but emerges instead through a queer ritual language that destabilizes conventional representations of gender within cumbia and folkloric dance.

Rooted in the artist’s place of origin, Pollera Vortex operates as a deconstruction of the cumbia pollera from the Caribbean coast of Colombia.

The performance unfolds within a red carpet installation that simulates a circular rueda de cumbia, a communal dance structure central to Caribbean ritual practices. Three performers inhabit this space: a central figure embodying the musicians—guides of trance—invokes the presence of candles through smoke and breath, while two orbiting bodies move as celestial forms, echoing the rotational logic of the skirt.

Pollera Vortex unfolds as both fantasy and provocation—a magnifying lens held beneath the pollera, revealing what is often unseen: desire, rhythm, vibration, and the sacred potential of the body in motion. The work becomes a ritual of collective looking, where folklore, queerness, and erotic energy converge to activate a shared, altered state.

Performance activation— 10 min

Showing at @apolemia________
Brussels 2025
-
Directed by @orlyanan
With fantastic performers
@lydiamcglinchey
@marbares_
@thirdworldbb
-
Curatorial sound by @don_alirio
Costume design department @di_martinex

Pollera Vortex is a ritual performance that reimagines the pollera—the traditional skirt of cumbia dancers from the Caribbean coast of Colombia—as a cosmic apparatus. Rather than functioning solely as folkloric costume, the pollera becomes a gravitational force: a vortex linking hips to earth, body to rhythm, and matter to trance.

The work proposes a speculative vision in which the universe unfolds beneath the pollera itself. What appears as fabric becomes a portal—an intimate cosmos in motion—inviting the audience into a state of feminine, erotic, and ecstatic activation. This trance is not framed through binary notions of femininity or masculinity, but emerges instead through a queer ritual language that destabilizes conventional representations of gender within cumbia and folkloric dance.

Rooted in the artist’s place of origin, Pollera Vortex operates as a deconstruction of the cumbia pollera from the Caribbean coast of Colombia.

The performance unfolds within a red carpet installation that simulates a circular rueda de cumbia, a communal dance structure central to Caribbean ritual practices. Three performers inhabit this space: a central figure embodying the musicians—guides of trance—invokes the presence of candles through smoke and breath, while two orbiting bodies move as celestial forms, echoing the rotational logic of the skirt.

Pollera Vortex unfolds as both fantasy and provocation—a magnifying lens held beneath the pollera, revealing what is often unseen: desire, rhythm, vibration, and the sacred potential of the body in motion. The work becomes a ritual of collective looking, where folklore, queerness, and erotic energy converge to activate a shared, altered state.

Performance activation— 10 min

Showing at @apolemia________
Brussels 2025
-
Directed by @orlyanan
With fantastic performers
@lydiamcglinchey
@marbares_
@thirdworldbb
-
Curatorial sound by @don_alirio
Costume design department @di_martinex

Pollera Vortex is a ritual performance that reimagines the pollera—the traditional skirt of cumbia dancers from the Caribbean coast of Colombia—as a cosmic apparatus. Rather than functioning solely as folkloric costume, the pollera becomes a gravitational force: a vortex linking hips to earth, body to rhythm, and matter to trance.

The work proposes a speculative vision in which the universe unfolds beneath the pollera itself. What appears as fabric becomes a portal—an intimate cosmos in motion—inviting the audience into a state of feminine, erotic, and ecstatic activation. This trance is not framed through binary notions of femininity or masculinity, but emerges instead through a queer ritual language that destabilizes conventional representations of gender within cumbia and folkloric dance.

Rooted in the artist’s place of origin, Pollera Vortex operates as a deconstruction of the cumbia pollera from the Caribbean coast of Colombia.

The performance unfolds within a red carpet installation that simulates a circular rueda de cumbia, a communal dance structure central to Caribbean ritual practices. Three performers inhabit this space: a central figure embodying the musicians—guides of trance—invokes the presence of candles through smoke and breath, while two orbiting bodies move as celestial forms, echoing the rotational logic of the skirt.

Pollera Vortex unfolds as both fantasy and provocation—a magnifying lens held beneath the pollera, revealing what is often unseen: desire, rhythm, vibration, and the sacred potential of the body in motion. The work becomes a ritual of collective looking, where folklore, queerness, and erotic energy converge to activate a shared, altered state.

Performance activation— 10 min

Showing at @apolemia________
Brussels 2025
-
Directed by @orlyanan
With fantastic performers
@lydiamcglinchey
@marbares_
@thirdworldbb
-
Curatorial sound by @don_alirio
Costume design department @di_martinex

Ella es POSSÉ LA PRESENTADORA en
🩸LA DAMA DEL AÑO🩸
Una sátira esotérica sobre la perfección y el absurdo
-
Theatrical performance / 15min
-
La Dama del Año es una farsa celestial que convierte un concurso de belleza en una ceremonia
mística llena de ironía y exageración. Conducido por un maestro de ceremonias que oscila entre
el animador de feria y el gurú espiritual, el espectáculo presenta una galería de arquetipos
femeninos elevados a la categoría de diosas: la belleza absoluta, la seducción encarnada, el
exceso divino y la simetría cósmica.
Cada personaje lucha por convencer al público de que representa el pináculo de la humanidad.
Inspirada en La Divina Comediay el arte de ser mujer la obra deconstruye los mitos de lo bello, lo deseable y lo armónico para revelarnos una verdad incómoda: no hay un premio, no hay una ganadora, solo un ciclo infinito de ilusiones y expectativas.
Bienvenidos a esta ceremonia del delirio.

-

*EQUIPO*
@tai____tai
@lacondesanotti
@karinialuna
@laiatorras__
@fernanda.acuna
@di_martinex
@noelHigareda
@luciavarme
@_astor_______
@alejandrotorovo
@davidisaacgm
@rschoenherr
@andie_smiley
@yocongusto
@better.call.lau
*TALENTO*
@posseesposse
@fernand0monter0
@diablurs
@shaoran__
@anabel_venegas
@kikabrava
@anahi.palacios.144
@zyanmarin
@mon.camacho
Gracias @pepxromero 🤍

Ella es POSSÉ LA PRESENTADORA en
🩸LA DAMA DEL AÑO🩸
Una sátira esotérica sobre la perfección y el absurdo
-
Theatrical performance / 15min
-
La Dama del Año es una farsa celestial que convierte un concurso de belleza en una ceremonia
mística llena de ironía y exageración. Conducido por un maestro de ceremonias que oscila entre
el animador de feria y el gurú espiritual, el espectáculo presenta una galería de arquetipos
femeninos elevados a la categoría de diosas: la belleza absoluta, la seducción encarnada, el
exceso divino y la simetría cósmica.
Cada personaje lucha por convencer al público de que representa el pináculo de la humanidad.
Inspirada en La Divina Comediay el arte de ser mujer la obra deconstruye los mitos de lo bello, lo deseable y lo armónico para revelarnos una verdad incómoda: no hay un premio, no hay una ganadora, solo un ciclo infinito de ilusiones y expectativas.
Bienvenidos a esta ceremonia del delirio.

-

*EQUIPO*
@tai____tai
@lacondesanotti
@karinialuna
@laiatorras__
@fernanda.acuna
@di_martinex
@noelHigareda
@luciavarme
@_astor_______
@alejandrotorovo
@davidisaacgm
@rschoenherr
@andie_smiley
@yocongusto
@better.call.lau
*TALENTO*
@posseesposse
@fernand0monter0
@diablurs
@shaoran__
@anabel_venegas
@kikabrava
@anahi.palacios.144
@zyanmarin
@mon.camacho
Gracias @pepxromero 🤍

Ella es POSSÉ LA PRESENTADORA en
🩸LA DAMA DEL AÑO🩸
Una sátira esotérica sobre la perfección y el absurdo
-
Theatrical performance / 15min
-
La Dama del Año es una farsa celestial que convierte un concurso de belleza en una ceremonia
mística llena de ironía y exageración. Conducido por un maestro de ceremonias que oscila entre
el animador de feria y el gurú espiritual, el espectáculo presenta una galería de arquetipos
femeninos elevados a la categoría de diosas: la belleza absoluta, la seducción encarnada, el
exceso divino y la simetría cósmica.
Cada personaje lucha por convencer al público de que representa el pináculo de la humanidad.
Inspirada en La Divina Comediay el arte de ser mujer la obra deconstruye los mitos de lo bello, lo deseable y lo armónico para revelarnos una verdad incómoda: no hay un premio, no hay una ganadora, solo un ciclo infinito de ilusiones y expectativas.
Bienvenidos a esta ceremonia del delirio.

-

*EQUIPO*
@tai____tai
@lacondesanotti
@karinialuna
@laiatorras__
@fernanda.acuna
@di_martinex
@noelHigareda
@luciavarme
@_astor_______
@alejandrotorovo
@davidisaacgm
@rschoenherr
@andie_smiley
@yocongusto
@better.call.lau
*TALENTO*
@posseesposse
@fernand0monter0
@diablurs
@shaoran__
@anabel_venegas
@kikabrava
@anahi.palacios.144
@zyanmarin
@mon.camacho
Gracias @pepxromero 🤍

Ella es POSSÉ LA PRESENTADORA en
🩸LA DAMA DEL AÑO🩸
Una sátira esotérica sobre la perfección y el absurdo
-
Theatrical performance / 15min
-
La Dama del Año es una farsa celestial que convierte un concurso de belleza en una ceremonia
mística llena de ironía y exageración. Conducido por un maestro de ceremonias que oscila entre
el animador de feria y el gurú espiritual, el espectáculo presenta una galería de arquetipos
femeninos elevados a la categoría de diosas: la belleza absoluta, la seducción encarnada, el
exceso divino y la simetría cósmica.
Cada personaje lucha por convencer al público de que representa el pináculo de la humanidad.
Inspirada en La Divina Comediay el arte de ser mujer la obra deconstruye los mitos de lo bello, lo deseable y lo armónico para revelarnos una verdad incómoda: no hay un premio, no hay una ganadora, solo un ciclo infinito de ilusiones y expectativas.
Bienvenidos a esta ceremonia del delirio.

-

*EQUIPO*
@tai____tai
@lacondesanotti
@karinialuna
@laiatorras__
@fernanda.acuna
@di_martinex
@noelHigareda
@luciavarme
@_astor_______
@alejandrotorovo
@davidisaacgm
@rschoenherr
@andie_smiley
@yocongusto
@better.call.lau
*TALENTO*
@posseesposse
@fernand0monter0
@diablurs
@shaoran__
@anabel_venegas
@kikabrava
@anahi.palacios.144
@zyanmarin
@mon.camacho
Gracias @pepxromero 🤍

La dama del año (Lady of the Year), 2025
Theatrical Performance
15 minutes
--
This piece transforms a beauty pageant into a celestial farce— a mystical ceremony steeped in irony and excess, where satire probes our ideals of perfection and the very limits of absurdity. In this competition, there are no winners or losers: every contestant is ultimately crowned Lady of the Year.
Drawing inspiration from Dante Alighieri's Divine Comedy, Pedro Almodóvar's cinema, and the aesthetics of womanhood, the work dismantles conventional standards of beauty and desirability, exposing our eros as an endless cycle of illusions and expectations.
On stage, a master of ceremonies—at once carnival showman and spiritual guru-unveils a pantheon of feminine archetypes in La dama del año. These goddesses embody beauty, seduction, excess, and symmetry. Each strives to convince the audience that she represents the pinnacle of humanity, deploying grandiose monologues, esoteric rhetoric, and baroque theatricality.
Yet behind these masks lies a biting, feminist critique of our cultural fixation on bodily perfection and our insatiable hunger for public validation. Apparent beauty becomes a horror show and audiences are not exempt from danger.
Welcome, then, to this cosmic pageant of delirium. Applaud, jeer, laugh-but remember: the universe is always laughing first.

*EQUIPO*
@tai____tai
@lacondesanotti
@karinialuna
@laiatorras__
@fernanda.acuna
@di_martinex
@noelHigareda
@luciavarme
@_astor_______
@alejandrotorovo
@davidisaacgm
@rschoenherr
@andie_smiley
@yocongusto
@better.call.lau

Mascara: Hugo Mael Fiol
*TALENTO*
@posseesposse
@fernand0monter0
@diablurs
@shaoran__
@anabel_venegas
@kikabrava
@anahi.palacios.144
@zyanmarin
@mon.camacho

La dama del año (Lady of the Year), 2025
Theatrical Performance
15 minutes
--
This piece transforms a beauty pageant into a celestial farce— a mystical ceremony steeped in irony and excess, where satire probes our ideals of perfection and the very limits of absurdity. In this competition, there are no winners or losers: every contestant is ultimately crowned Lady of the Year.
Drawing inspiration from Dante Alighieri's Divine Comedy, Pedro Almodóvar's cinema, and the aesthetics of womanhood, the work dismantles conventional standards of beauty and desirability, exposing our eros as an endless cycle of illusions and expectations.
On stage, a master of ceremonies—at once carnival showman and spiritual guru-unveils a pantheon of feminine archetypes in La dama del año. These goddesses embody beauty, seduction, excess, and symmetry. Each strives to convince the audience that she represents the pinnacle of humanity, deploying grandiose monologues, esoteric rhetoric, and baroque theatricality.
Yet behind these masks lies a biting, feminist critique of our cultural fixation on bodily perfection and our insatiable hunger for public validation. Apparent beauty becomes a horror show and audiences are not exempt from danger.
Welcome, then, to this cosmic pageant of delirium. Applaud, jeer, laugh-but remember: the universe is always laughing first.

*EQUIPO*
@tai____tai
@lacondesanotti
@karinialuna
@laiatorras__
@fernanda.acuna
@di_martinex
@noelHigareda
@luciavarme
@_astor_______
@alejandrotorovo
@davidisaacgm
@rschoenherr
@andie_smiley
@yocongusto
@better.call.lau

Mascara: Hugo Mael Fiol
*TALENTO*
@posseesposse
@fernand0monter0
@diablurs
@shaoran__
@anabel_venegas
@kikabrava
@anahi.palacios.144
@zyanmarin
@mon.camacho

La dama del año (Lady of the Year), 2025
Theatrical Performance
15 minutes
--
This piece transforms a beauty pageant into a celestial farce— a mystical ceremony steeped in irony and excess, where satire probes our ideals of perfection and the very limits of absurdity. In this competition, there are no winners or losers: every contestant is ultimately crowned Lady of the Year.
Drawing inspiration from Dante Alighieri's Divine Comedy, Pedro Almodóvar's cinema, and the aesthetics of womanhood, the work dismantles conventional standards of beauty and desirability, exposing our eros as an endless cycle of illusions and expectations.
On stage, a master of ceremonies—at once carnival showman and spiritual guru-unveils a pantheon of feminine archetypes in La dama del año. These goddesses embody beauty, seduction, excess, and symmetry. Each strives to convince the audience that she represents the pinnacle of humanity, deploying grandiose monologues, esoteric rhetoric, and baroque theatricality.
Yet behind these masks lies a biting, feminist critique of our cultural fixation on bodily perfection and our insatiable hunger for public validation. Apparent beauty becomes a horror show and audiences are not exempt from danger.
Welcome, then, to this cosmic pageant of delirium. Applaud, jeer, laugh-but remember: the universe is always laughing first.

*EQUIPO*
@tai____tai
@lacondesanotti
@karinialuna
@laiatorras__
@fernanda.acuna
@di_martinex
@noelHigareda
@luciavarme
@_astor_______
@alejandrotorovo
@davidisaacgm
@rschoenherr
@andie_smiley
@yocongusto
@better.call.lau

Mascara: Hugo Mael Fiol
*TALENTO*
@posseesposse
@fernand0monter0
@diablurs
@shaoran__
@anabel_venegas
@kikabrava
@anahi.palacios.144
@zyanmarin
@mon.camacho

La dama del año (Lady of the Year), 2025
Theatrical Performance
15 minutes
--
This piece transforms a beauty pageant into a celestial farce— a mystical ceremony steeped in irony and excess, where satire probes our ideals of perfection and the very limits of absurdity. In this competition, there are no winners or losers: every contestant is ultimately crowned Lady of the Year.
Drawing inspiration from Dante Alighieri's Divine Comedy, Pedro Almodóvar's cinema, and the aesthetics of womanhood, the work dismantles conventional standards of beauty and desirability, exposing our eros as an endless cycle of illusions and expectations.
On stage, a master of ceremonies—at once carnival showman and spiritual guru-unveils a pantheon of feminine archetypes in La dama del año. These goddesses embody beauty, seduction, excess, and symmetry. Each strives to convince the audience that she represents the pinnacle of humanity, deploying grandiose monologues, esoteric rhetoric, and baroque theatricality.
Yet behind these masks lies a biting, feminist critique of our cultural fixation on bodily perfection and our insatiable hunger for public validation. Apparent beauty becomes a horror show and audiences are not exempt from danger.
Welcome, then, to this cosmic pageant of delirium. Applaud, jeer, laugh-but remember: the universe is always laughing first.

*EQUIPO*
@tai____tai
@lacondesanotti
@karinialuna
@laiatorras__
@fernanda.acuna
@di_martinex
@noelHigareda
@luciavarme
@_astor_______
@alejandrotorovo
@davidisaacgm
@rschoenherr
@andie_smiley
@yocongusto
@better.call.lau

Mascara: Hugo Mael Fiol
*TALENTO*
@posseesposse
@fernand0monter0
@diablurs
@shaoran__
@anabel_venegas
@kikabrava
@anahi.palacios.144
@zyanmarin
@mon.camacho

La dama del año (Lady of the Year), 2025
Theatrical Performance
15 minutes
--
This piece transforms a beauty pageant into a celestial farce— a mystical ceremony steeped in irony and excess, where satire probes our ideals of perfection and the very limits of absurdity. In this competition, there are no winners or losers: every contestant is ultimately crowned Lady of the Year.
Drawing inspiration from Dante Alighieri's Divine Comedy, Pedro Almodóvar's cinema, and the aesthetics of womanhood, the work dismantles conventional standards of beauty and desirability, exposing our eros as an endless cycle of illusions and expectations.
On stage, a master of ceremonies—at once carnival showman and spiritual guru-unveils a pantheon of feminine archetypes in La dama del año. These goddesses embody beauty, seduction, excess, and symmetry. Each strives to convince the audience that she represents the pinnacle of humanity, deploying grandiose monologues, esoteric rhetoric, and baroque theatricality.
Yet behind these masks lies a biting, feminist critique of our cultural fixation on bodily perfection and our insatiable hunger for public validation. Apparent beauty becomes a horror show and audiences are not exempt from danger.
Welcome, then, to this cosmic pageant of delirium. Applaud, jeer, laugh-but remember: the universe is always laughing first.

*EQUIPO*
@tai____tai
@lacondesanotti
@karinialuna
@laiatorras__
@fernanda.acuna
@di_martinex
@noelHigareda
@luciavarme
@_astor_______
@alejandrotorovo
@davidisaacgm
@rschoenherr
@andie_smiley
@yocongusto
@better.call.lau

Mascara: Hugo Mael Fiol
*TALENTO*
@posseesposse
@fernand0monter0
@diablurs
@shaoran__
@anabel_venegas
@kikabrava
@anahi.palacios.144
@zyanmarin
@mon.camacho

La dama del año (Lady of the Year), 2025
Theatrical Performance
15 minutes
--
This piece transforms a beauty pageant into a celestial farce— a mystical ceremony steeped in irony and excess, where satire probes our ideals of perfection and the very limits of absurdity. In this competition, there are no winners or losers: every contestant is ultimately crowned Lady of the Year.
Drawing inspiration from Dante Alighieri's Divine Comedy, Pedro Almodóvar's cinema, and the aesthetics of womanhood, the work dismantles conventional standards of beauty and desirability, exposing our eros as an endless cycle of illusions and expectations.
On stage, a master of ceremonies—at once carnival showman and spiritual guru-unveils a pantheon of feminine archetypes in La dama del año. These goddesses embody beauty, seduction, excess, and symmetry. Each strives to convince the audience that she represents the pinnacle of humanity, deploying grandiose monologues, esoteric rhetoric, and baroque theatricality.
Yet behind these masks lies a biting, feminist critique of our cultural fixation on bodily perfection and our insatiable hunger for public validation. Apparent beauty becomes a horror show and audiences are not exempt from danger.
Welcome, then, to this cosmic pageant of delirium. Applaud, jeer, laugh-but remember: the universe is always laughing first.

*EQUIPO*
@tai____tai
@lacondesanotti
@karinialuna
@laiatorras__
@fernanda.acuna
@di_martinex
@noelHigareda
@luciavarme
@_astor_______
@alejandrotorovo
@davidisaacgm
@rschoenherr
@andie_smiley
@yocongusto
@better.call.lau

Mascara: Hugo Mael Fiol
*TALENTO*
@posseesposse
@fernand0monter0
@diablurs
@shaoran__
@anabel_venegas
@kikabrava
@anahi.palacios.144
@zyanmarin
@mon.camacho

La dama del año (Lady of the Year), 2025
Theatrical Performance
15 minutes
--
This piece transforms a beauty pageant into a celestial farce— a mystical ceremony steeped in irony and excess, where satire probes our ideals of perfection and the very limits of absurdity. In this competition, there are no winners or losers: every contestant is ultimately crowned Lady of the Year.
Drawing inspiration from Dante Alighieri's Divine Comedy, Pedro Almodóvar's cinema, and the aesthetics of womanhood, the work dismantles conventional standards of beauty and desirability, exposing our eros as an endless cycle of illusions and expectations.
On stage, a master of ceremonies—at once carnival showman and spiritual guru-unveils a pantheon of feminine archetypes in La dama del año. These goddesses embody beauty, seduction, excess, and symmetry. Each strives to convince the audience that she represents the pinnacle of humanity, deploying grandiose monologues, esoteric rhetoric, and baroque theatricality.
Yet behind these masks lies a biting, feminist critique of our cultural fixation on bodily perfection and our insatiable hunger for public validation. Apparent beauty becomes a horror show and audiences are not exempt from danger.
Welcome, then, to this cosmic pageant of delirium. Applaud, jeer, laugh-but remember: the universe is always laughing first.

*EQUIPO*
@tai____tai
@lacondesanotti
@karinialuna
@laiatorras__
@fernanda.acuna
@di_martinex
@noelHigareda
@luciavarme
@_astor_______
@alejandrotorovo
@davidisaacgm
@rschoenherr
@andie_smiley
@yocongusto
@better.call.lau

Mascara: Hugo Mael Fiol
*TALENTO*
@posseesposse
@fernand0monter0
@diablurs
@shaoran__
@anabel_venegas
@kikabrava
@anahi.palacios.144
@zyanmarin
@mon.camacho

¡Y aquí está ella! La obra maestra
del creador, la cúspide del bisturí
divino, la estatua de mármol que
camina entre nosotros... ¡Miss
Universo Eterna!

🩸LA DAMA DEL AÑO🩸

Una sátira esotérica sobre la perfección y el absurdo

Theatrical performance / 15min

La Dama del Año es una farsa celestial que convierte un concurso de belleza en una ceremonia
mística llena de ironía y exageración. Conducido por un maestro de ceremonias que oscila entre
el animador de feria y el gurú espiritual, el espectáculo presenta una galería de arquetipos
femeninos elevados a la categoría de diosas: la belleza absoluta, la seducción encarnada, el
exceso divino y la simetría cósmica.
Cada personaje lucha por convencer al público de que representa el pináculo de la humanidad,
desplegando discursos grandilocuentes, retórica esotérica y una teatralidad desbordante. Sin
embargo, detrás del esplendor se esconde la sátira: una crítica a la obsesión por la perfección, la
idealización de los cuerpos y la constante necesidad de validación.
Inspirada en La Divina Comediay el arte de ser mujer la obra deconstruye los mitos de lo bello, lo deseable y lo armónico para revelarnos una verdad incómoda: no hay un premio, no hay una ganadora, solo un ciclo infinito de ilusiones y expectativas.
Bienvenidos a esta ceremonia cósmica del delirio.

-

*EQUIPO*
@tai____tai
@lacondesanotti
@karinialuna
@laiatorras__
@fernanda.acuna
@di_martinex
@noelHigareda
@luciavarme
@_astor_______
@alejandrotorovo
@davidisaacgm
@rschoenherr
@andie_smiley
@yocongusto
@better.call.lau
Mascara: Hugo Mael Fiol
*TALENTO*
@posseesposse
@fernand0monter0
@diablurs
@shaoran__
@anabel_venegas
@kikabrava
@anahi.palacios.144
@zyanmarin
@mon.camacho

¡Y aquí está ella! La obra maestra
del creador, la cúspide del bisturí
divino, la estatua de mármol que
camina entre nosotros... ¡Miss
Universo Eterna!

🩸LA DAMA DEL AÑO🩸

Una sátira esotérica sobre la perfección y el absurdo

Theatrical performance / 15min

La Dama del Año es una farsa celestial que convierte un concurso de belleza en una ceremonia
mística llena de ironía y exageración. Conducido por un maestro de ceremonias que oscila entre
el animador de feria y el gurú espiritual, el espectáculo presenta una galería de arquetipos
femeninos elevados a la categoría de diosas: la belleza absoluta, la seducción encarnada, el
exceso divino y la simetría cósmica.
Cada personaje lucha por convencer al público de que representa el pináculo de la humanidad,
desplegando discursos grandilocuentes, retórica esotérica y una teatralidad desbordante. Sin
embargo, detrás del esplendor se esconde la sátira: una crítica a la obsesión por la perfección, la
idealización de los cuerpos y la constante necesidad de validación.
Inspirada en La Divina Comediay el arte de ser mujer la obra deconstruye los mitos de lo bello, lo deseable y lo armónico para revelarnos una verdad incómoda: no hay un premio, no hay una ganadora, solo un ciclo infinito de ilusiones y expectativas.
Bienvenidos a esta ceremonia cósmica del delirio.

-

*EQUIPO*
@tai____tai
@lacondesanotti
@karinialuna
@laiatorras__
@fernanda.acuna
@di_martinex
@noelHigareda
@luciavarme
@_astor_______
@alejandrotorovo
@davidisaacgm
@rschoenherr
@andie_smiley
@yocongusto
@better.call.lau
Mascara: Hugo Mael Fiol
*TALENTO*
@posseesposse
@fernand0monter0
@diablurs
@shaoran__
@anabel_venegas
@kikabrava
@anahi.palacios.144
@zyanmarin
@mon.camacho

¡Y aquí está ella! La obra maestra
del creador, la cúspide del bisturí
divino, la estatua de mármol que
camina entre nosotros... ¡Miss
Universo Eterna!

🩸LA DAMA DEL AÑO🩸

Una sátira esotérica sobre la perfección y el absurdo

Theatrical performance / 15min

La Dama del Año es una farsa celestial que convierte un concurso de belleza en una ceremonia
mística llena de ironía y exageración. Conducido por un maestro de ceremonias que oscila entre
el animador de feria y el gurú espiritual, el espectáculo presenta una galería de arquetipos
femeninos elevados a la categoría de diosas: la belleza absoluta, la seducción encarnada, el
exceso divino y la simetría cósmica.
Cada personaje lucha por convencer al público de que representa el pináculo de la humanidad,
desplegando discursos grandilocuentes, retórica esotérica y una teatralidad desbordante. Sin
embargo, detrás del esplendor se esconde la sátira: una crítica a la obsesión por la perfección, la
idealización de los cuerpos y la constante necesidad de validación.
Inspirada en La Divina Comediay el arte de ser mujer la obra deconstruye los mitos de lo bello, lo deseable y lo armónico para revelarnos una verdad incómoda: no hay un premio, no hay una ganadora, solo un ciclo infinito de ilusiones y expectativas.
Bienvenidos a esta ceremonia cósmica del delirio.

-

*EQUIPO*
@tai____tai
@lacondesanotti
@karinialuna
@laiatorras__
@fernanda.acuna
@di_martinex
@noelHigareda
@luciavarme
@_astor_______
@alejandrotorovo
@davidisaacgm
@rschoenherr
@andie_smiley
@yocongusto
@better.call.lau
Mascara: Hugo Mael Fiol
*TALENTO*
@posseesposse
@fernand0monter0
@diablurs
@shaoran__
@anabel_venegas
@kikabrava
@anahi.palacios.144
@zyanmarin
@mon.camacho

¡Y aquí está ella! La obra maestra
del creador, la cúspide del bisturí
divino, la estatua de mármol que
camina entre nosotros... ¡Miss
Universo Eterna!

🩸LA DAMA DEL AÑO🩸

Una sátira esotérica sobre la perfección y el absurdo

Theatrical performance / 15min

La Dama del Año es una farsa celestial que convierte un concurso de belleza en una ceremonia
mística llena de ironía y exageración. Conducido por un maestro de ceremonias que oscila entre
el animador de feria y el gurú espiritual, el espectáculo presenta una galería de arquetipos
femeninos elevados a la categoría de diosas: la belleza absoluta, la seducción encarnada, el
exceso divino y la simetría cósmica.
Cada personaje lucha por convencer al público de que representa el pináculo de la humanidad,
desplegando discursos grandilocuentes, retórica esotérica y una teatralidad desbordante. Sin
embargo, detrás del esplendor se esconde la sátira: una crítica a la obsesión por la perfección, la
idealización de los cuerpos y la constante necesidad de validación.
Inspirada en La Divina Comediay el arte de ser mujer la obra deconstruye los mitos de lo bello, lo deseable y lo armónico para revelarnos una verdad incómoda: no hay un premio, no hay una ganadora, solo un ciclo infinito de ilusiones y expectativas.
Bienvenidos a esta ceremonia cósmica del delirio.

-

*EQUIPO*
@tai____tai
@lacondesanotti
@karinialuna
@laiatorras__
@fernanda.acuna
@di_martinex
@noelHigareda
@luciavarme
@_astor_______
@alejandrotorovo
@davidisaacgm
@rschoenherr
@andie_smiley
@yocongusto
@better.call.lau
Mascara: Hugo Mael Fiol
*TALENTO*
@posseesposse
@fernand0monter0
@diablurs
@shaoran__
@anabel_venegas
@kikabrava
@anahi.palacios.144
@zyanmarin
@mon.camacho

¡Y aquí está ella! La obra maestra
del creador, la cúspide del bisturí
divino, la estatua de mármol que
camina entre nosotros... ¡Miss
Universo Eterna!

🩸LA DAMA DEL AÑO🩸

Una sátira esotérica sobre la perfección y el absurdo

Theatrical performance / 15min

La Dama del Año es una farsa celestial que convierte un concurso de belleza en una ceremonia
mística llena de ironía y exageración. Conducido por un maestro de ceremonias que oscila entre
el animador de feria y el gurú espiritual, el espectáculo presenta una galería de arquetipos
femeninos elevados a la categoría de diosas: la belleza absoluta, la seducción encarnada, el
exceso divino y la simetría cósmica.
Cada personaje lucha por convencer al público de que representa el pináculo de la humanidad,
desplegando discursos grandilocuentes, retórica esotérica y una teatralidad desbordante. Sin
embargo, detrás del esplendor se esconde la sátira: una crítica a la obsesión por la perfección, la
idealización de los cuerpos y la constante necesidad de validación.
Inspirada en La Divina Comediay el arte de ser mujer la obra deconstruye los mitos de lo bello, lo deseable y lo armónico para revelarnos una verdad incómoda: no hay un premio, no hay una ganadora, solo un ciclo infinito de ilusiones y expectativas.
Bienvenidos a esta ceremonia cósmica del delirio.

-

*EQUIPO*
@tai____tai
@lacondesanotti
@karinialuna
@laiatorras__
@fernanda.acuna
@di_martinex
@noelHigareda
@luciavarme
@_astor_______
@alejandrotorovo
@davidisaacgm
@rschoenherr
@andie_smiley
@yocongusto
@better.call.lau
Mascara: Hugo Mael Fiol
*TALENTO*
@posseesposse
@fernand0monter0
@diablurs
@shaoran__
@anabel_venegas
@kikabrava
@anahi.palacios.144
@zyanmarin
@mon.camacho

̈LIQUID DIALOGUES” is a theatrical performance showcased at @anahuacalli in Mexico City as part of @mutekmx

Director & designer:Orly Anan
Sound performer : @hatis_noit
Executive production : @mutekmx & @oas.lab
Studio Manager & Coordinator:Lucila Cairo Guerra
Head of masks department:Hugo Mael Figueroa
_
Art Assistants
Cecilia Lizcano López
Anais Vasconcelos
Raul Carballo Corrales
Glenda Torrado Rodríguez
Ximena Maenfeltd
Estefanía Alonso
_
Costumes department:
Alejandro Rincón Gutiérrez
Yolanda Montoya Pérez
Laura Angélica Del Carmen Hernández Martínez
Jennyfer Arcos Rojas
_
Hair Sculptures : Fernanda Acuña
_
Movement director :Cesar Brodermann
Movement director asistant: Santiago Sanchez Ramirez
_
Photographer BTS : Pol Agusti
Photographer BTS: Fito SabraKadabra
Photographer live performance:Adolfo Cano Torres
Videographer: Manfredi Coppolecchia
_
Talent coordinator :Yezbek Chaul
Performers:
Alinee Arizmendi Salgado
Syanya Joan Marin Huerta
Norma Anahí Chávez Lopez
Indra Izanami Merklin Sanchez
Karla eva rosales perez
Omar Roberto Avalos Trejo
Elvira Tellez Cortes
Maria Gameiro Micaelo
Enrique José Ortiz Hernández
Alejandra Melgoza Higueras
Guillermo Magallón Armenta
_
Special thanks to :
@dramian
@karlaninno
@barbararuiz85 Ruiz

̈LIQUID DIALOGUES” is a theatrical performance showcased at @anahuacalli in Mexico City as part of @mutekmx

Director & designer:Orly Anan
Sound performer : @hatis_noit
Executive production : @mutekmx & @oas.lab
Studio Manager & Coordinator:Lucila Cairo Guerra
Head of masks department:Hugo Mael Figueroa
_
Art Assistants
Cecilia Lizcano López
Anais Vasconcelos
Raul Carballo Corrales
Glenda Torrado Rodríguez
Ximena Maenfeltd
Estefanía Alonso
_
Costumes department:
Alejandro Rincón Gutiérrez
Yolanda Montoya Pérez
Laura Angélica Del Carmen Hernández Martínez
Jennyfer Arcos Rojas
_
Hair Sculptures : Fernanda Acuña
_
Movement director :Cesar Brodermann
Movement director asistant: Santiago Sanchez Ramirez
_
Photographer BTS : Pol Agusti
Photographer BTS: Fito SabraKadabra
Photographer live performance:Adolfo Cano Torres
Videographer: Manfredi Coppolecchia
_
Talent coordinator :Yezbek Chaul
Performers:
Alinee Arizmendi Salgado
Syanya Joan Marin Huerta
Norma Anahí Chávez Lopez
Indra Izanami Merklin Sanchez
Karla eva rosales perez
Omar Roberto Avalos Trejo
Elvira Tellez Cortes
Maria Gameiro Micaelo
Enrique José Ortiz Hernández
Alejandra Melgoza Higueras
Guillermo Magallón Armenta
_
Special thanks to :
@dramian
@karlaninno
@barbararuiz85 Ruiz

̈LIQUID DIALOGUES” is a theatrical performance showcased at @anahuacalli in Mexico City as part of @mutekmx

Director & designer:Orly Anan
Sound performer : @hatis_noit
Executive production : @mutekmx & @oas.lab
Studio Manager & Coordinator:Lucila Cairo Guerra
Head of masks department:Hugo Mael Figueroa
_
Art Assistants
Cecilia Lizcano López
Anais Vasconcelos
Raul Carballo Corrales
Glenda Torrado Rodríguez
Ximena Maenfeltd
Estefanía Alonso
_
Costumes department:
Alejandro Rincón Gutiérrez
Yolanda Montoya Pérez
Laura Angélica Del Carmen Hernández Martínez
Jennyfer Arcos Rojas
_
Hair Sculptures : Fernanda Acuña
_
Movement director :Cesar Brodermann
Movement director asistant: Santiago Sanchez Ramirez
_
Photographer BTS : Pol Agusti
Photographer BTS: Fito SabraKadabra
Photographer live performance:Adolfo Cano Torres
Videographer: Manfredi Coppolecchia
_
Talent coordinator :Yezbek Chaul
Performers:
Alinee Arizmendi Salgado
Syanya Joan Marin Huerta
Norma Anahí Chávez Lopez
Indra Izanami Merklin Sanchez
Karla eva rosales perez
Omar Roberto Avalos Trejo
Elvira Tellez Cortes
Maria Gameiro Micaelo
Enrique José Ortiz Hernández
Alejandra Melgoza Higueras
Guillermo Magallón Armenta
_
Special thanks to :
@dramian
@karlaninno
@barbararuiz85 Ruiz

̈LIQUID DIALOGUES” is a theatrical performance showcased at @anahuacalli in Mexico City as part of @mutekmx

Director & designer:Orly Anan
Sound performer : @hatis_noit
Executive production : @mutekmx & @oas.lab
Studio Manager & Coordinator:Lucila Cairo Guerra
Head of masks department:Hugo Mael Figueroa
_
Art Assistants
Cecilia Lizcano López
Anais Vasconcelos
Raul Carballo Corrales
Glenda Torrado Rodríguez
Ximena Maenfeltd
Estefanía Alonso
_
Costumes department:
Alejandro Rincón Gutiérrez
Yolanda Montoya Pérez
Laura Angélica Del Carmen Hernández Martínez
Jennyfer Arcos Rojas
_
Hair Sculptures : Fernanda Acuña
_
Movement director :Cesar Brodermann
Movement director asistant: Santiago Sanchez Ramirez
_
Photographer BTS : Pol Agusti
Photographer BTS: Fito SabraKadabra
Photographer live performance:Adolfo Cano Torres
Videographer: Manfredi Coppolecchia
_
Talent coordinator :Yezbek Chaul
Performers:
Alinee Arizmendi Salgado
Syanya Joan Marin Huerta
Norma Anahí Chávez Lopez
Indra Izanami Merklin Sanchez
Karla eva rosales perez
Omar Roberto Avalos Trejo
Elvira Tellez Cortes
Maria Gameiro Micaelo
Enrique José Ortiz Hernández
Alejandra Melgoza Higueras
Guillermo Magallón Armenta
_
Special thanks to :
@dramian
@karlaninno
@barbararuiz85 Ruiz

72 VESSELS
Landscape performance, 30 min
The Feuerle Collection
Berlin, 2025

72 Vessels is a landscape performance directed by Orly Anan that transforms the historic site of The Feuerle Collection — once a Nazi telecommunications bunker — into a charged terrain of metaphysical exploration and spiritual rebellion.

Activating the land itself, the performance confronts the bunker’s past by transmuting its residual energies through embodied ritual and the esoteric symbolism of the Kabbalistic tradition. Local Berlin-based contemporary dancers move through the architecture, activating the stations, or sefirot, as they traverse the space.

At its core, 72 Vessels stages a journey from human to vessel. The performers become conduits, channeling the energetic codes of Kabbalistic letter constellations through their masks and bodies. Functioning as both protection symbols and energetic manifestations, these inscriptions invite meditation and healing. Through walking, resistance, expansion, and ecstatic motion, the dancers re-enchant a site historically built for control and surveillance.

The masks operate as tools of ego-release, dissolving personal identity to access deepercurrents.

Percussion, composed by Italian musician Andrea Belfi, drives the emotional tempo, echoing through the bunker like a pulse of the unseen.

72 Vessels becomes a revolutionary act. It does not merely take place on land — it activates it, transforming a relic of oppression into a living altar for communion, transformation, and liberation

Directed by Orly Anan
Performance shown at @thefeuerlecollection
Event curated and art directed by : @idangilony
Commissioned by: @lov.foundation
Photography @evelyn_bencicova
Sound design by @AndreaBelfi
Special thanks to Idan Gilony & Alexandra Seaman
Performers:
@kristindiya @alvincollantesdance @mlboryx
@sebastian.abarbanell @oryxvlrn
@Shar_actually @francale
Art department coordinator: @andreapfff
Art Team:
Laura Lara, Julieta Vivanco, Konstancja Bartoszewska
Wig design: Deeon Oxygen

72 VESSELS
Landscape performance, 30 min
The Feuerle Collection
Berlin, 2025

72 Vessels is a landscape performance directed by Orly Anan that transforms the historic site of The Feuerle Collection — once a Nazi telecommunications bunker — into a charged terrain of metaphysical exploration and spiritual rebellion.

Activating the land itself, the performance confronts the bunker’s past by transmuting its residual energies through embodied ritual and the esoteric symbolism of the Kabbalistic tradition. Local Berlin-based contemporary dancers move through the architecture, activating the stations, or sefirot, as they traverse the space.

At its core, 72 Vessels stages a journey from human to vessel. The performers become conduits, channeling the energetic codes of Kabbalistic letter constellations through their masks and bodies. Functioning as both protection symbols and energetic manifestations, these inscriptions invite meditation and healing. Through walking, resistance, expansion, and ecstatic motion, the dancers re-enchant a site historically built for control and surveillance.

The masks operate as tools of ego-release, dissolving personal identity to access deepercurrents.

Percussion, composed by Italian musician Andrea Belfi, drives the emotional tempo, echoing through the bunker like a pulse of the unseen.

72 Vessels becomes a revolutionary act. It does not merely take place on land — it activates it, transforming a relic of oppression into a living altar for communion, transformation, and liberation

Directed by Orly Anan
Performance shown at @thefeuerlecollection
Event curated and art directed by : @idangilony
Commissioned by: @lov.foundation
Photography @evelyn_bencicova
Sound design by @AndreaBelfi
Special thanks to Idan Gilony & Alexandra Seaman
Performers:
@kristindiya @alvincollantesdance @mlboryx
@sebastian.abarbanell @oryxvlrn
@Shar_actually @francale
Art department coordinator: @andreapfff
Art Team:
Laura Lara, Julieta Vivanco, Konstancja Bartoszewska
Wig design: Deeon Oxygen

72 VESSELS
Landscape performance, 30 min
The Feuerle Collection
Berlin, 2025

72 Vessels is a landscape performance directed by Orly Anan that transforms the historic site of The Feuerle Collection — once a Nazi telecommunications bunker — into a charged terrain of metaphysical exploration and spiritual rebellion.

Activating the land itself, the performance confronts the bunker’s past by transmuting its residual energies through embodied ritual and the esoteric symbolism of the Kabbalistic tradition. Local Berlin-based contemporary dancers move through the architecture, activating the stations, or sefirot, as they traverse the space.

At its core, 72 Vessels stages a journey from human to vessel. The performers become conduits, channeling the energetic codes of Kabbalistic letter constellations through their masks and bodies. Functioning as both protection symbols and energetic manifestations, these inscriptions invite meditation and healing. Through walking, resistance, expansion, and ecstatic motion, the dancers re-enchant a site historically built for control and surveillance.

The masks operate as tools of ego-release, dissolving personal identity to access deepercurrents.

Percussion, composed by Italian musician Andrea Belfi, drives the emotional tempo, echoing through the bunker like a pulse of the unseen.

72 Vessels becomes a revolutionary act. It does not merely take place on land — it activates it, transforming a relic of oppression into a living altar for communion, transformation, and liberation

Directed by Orly Anan
Performance shown at @thefeuerlecollection
Event curated and art directed by : @idangilony
Commissioned by: @lov.foundation
Photography @evelyn_bencicova
Sound design by @AndreaBelfi
Special thanks to Idan Gilony & Alexandra Seaman
Performers:
@kristindiya @alvincollantesdance @mlboryx
@sebastian.abarbanell @oryxvlrn
@Shar_actually @francale
Art department coordinator: @andreapfff
Art Team:
Laura Lara, Julieta Vivanco, Konstancja Bartoszewska
Wig design: Deeon Oxygen

72 VESSELS
Landscape performance, 30 min
The Feuerle Collection
Berlin, 2025

72 Vessels is a landscape performance directed by Orly Anan that transforms the historic site of The Feuerle Collection — once a Nazi telecommunications bunker — into a charged terrain of metaphysical exploration and spiritual rebellion.

Activating the land itself, the performance confronts the bunker’s past by transmuting its residual energies through embodied ritual and the esoteric symbolism of the Kabbalistic tradition. Local Berlin-based contemporary dancers move through the architecture, activating the stations, or sefirot, as they traverse the space.

At its core, 72 Vessels stages a journey from human to vessel. The performers become conduits, channeling the energetic codes of Kabbalistic letter constellations through their masks and bodies. Functioning as both protection symbols and energetic manifestations, these inscriptions invite meditation and healing. Through walking, resistance, expansion, and ecstatic motion, the dancers re-enchant a site historically built for control and surveillance.

The masks operate as tools of ego-release, dissolving personal identity to access deepercurrents.

Percussion, composed by Italian musician Andrea Belfi, drives the emotional tempo, echoing through the bunker like a pulse of the unseen.

72 Vessels becomes a revolutionary act. It does not merely take place on land — it activates it, transforming a relic of oppression into a living altar for communion, transformation, and liberation

Directed by Orly Anan
Performance shown at @thefeuerlecollection
Event curated and art directed by : @idangilony
Commissioned by: @lov.foundation
Photography @evelyn_bencicova
Sound design by @AndreaBelfi
Special thanks to Idan Gilony & Alexandra Seaman
Performers:
@kristindiya @alvincollantesdance @mlboryx
@sebastian.abarbanell @oryxvlrn
@Shar_actually @francale
Art department coordinator: @andreapfff
Art Team:
Laura Lara, Julieta Vivanco, Konstancja Bartoszewska
Wig design: Deeon Oxygen

72 VESSELS
Landscape performance, 30 min
The Feuerle Collection
Berlin, 2025

72 Vessels is a landscape performance directed by Orly Anan that transforms the historic site of The Feuerle Collection — once a Nazi telecommunications bunker — into a charged terrain of metaphysical exploration and spiritual rebellion.

Activating the land itself, the performance confronts the bunker’s past by transmuting its residual energies through embodied ritual and the esoteric symbolism of the Kabbalistic tradition. Local Berlin-based contemporary dancers move through the architecture, activating the stations, or sefirot, as they traverse the space.

At its core, 72 Vessels stages a journey from human to vessel. The performers become conduits, channeling the energetic codes of Kabbalistic letter constellations through their masks and bodies. Functioning as both protection symbols and energetic manifestations, these inscriptions invite meditation and healing. Through walking, resistance, expansion, and ecstatic motion, the dancers re-enchant a site historically built for control and surveillance.

The masks operate as tools of ego-release, dissolving personal identity to access deepercurrents.

Percussion, composed by Italian musician Andrea Belfi, drives the emotional tempo, echoing through the bunker like a pulse of the unseen.

72 Vessels becomes a revolutionary act. It does not merely take place on land — it activates it, transforming a relic of oppression into a living altar for communion, transformation, and liberation

Directed by Orly Anan
Performance shown at @thefeuerlecollection
Event curated and art directed by : @idangilony
Commissioned by: @lov.foundation
Photography @evelyn_bencicova
Sound design by @AndreaBelfi
Special thanks to Idan Gilony & Alexandra Seaman
Performers:
@kristindiya @alvincollantesdance @mlboryx
@sebastian.abarbanell @oryxvlrn
@Shar_actually @francale
Art department coordinator: @andreapfff
Art Team:
Laura Lara, Julieta Vivanco, Konstancja Bartoszewska
Wig design: Deeon Oxygen

“̈LIQUID DIALOGUES” is a theatrical performance showcased at @anahuacalli in Mexico City as part of @mutekmx
/
“Liquid Dialogues “immerses the audience in a shared introspective journey, where music,symbolism, and physical expression come together to convey birth as both a literal and metaphorical act of creation. The performance represents an eccentric and public birthing ritual, where the focal point is the symbolic birth of a two-headed snake. This snake, a creature rich in mythological and cultural meanings, embodies duality, transformation, and the merging of opposing
forces. Each character involved in the performance carries a symbolic role that echoes the stages of birth: from the doulas to the fertilizer, the eternal
mirror, the mother, the spiral of infinite creation, and Hatis Noit’s@hatis_noit as theguiding voice.
Throughout this eccentric, “parto” (birth), the Anahuacalli Museum becomes a metaphorical birthing chamber, where the sacred act of creation unfolds before the audience’s eyes.

“̈LIQUID DIALOGUES” is a theatrical performance showcased at @anahuacalli in Mexico City as part of @mutekmx
/
“Liquid Dialogues “immerses the audience in a shared introspective journey, where music,symbolism, and physical expression come together to convey birth as both a literal and metaphorical act of creation. The performance represents an eccentric and public birthing ritual, where the focal point is the symbolic birth of a two-headed snake. This snake, a creature rich in mythological and cultural meanings, embodies duality, transformation, and the merging of opposing
forces. Each character involved in the performance carries a symbolic role that echoes the stages of birth: from the doulas to the fertilizer, the eternal
mirror, the mother, the spiral of infinite creation, and Hatis Noit’s@hatis_noit as theguiding voice.
Throughout this eccentric, “parto” (birth), the Anahuacalli Museum becomes a metaphorical birthing chamber, where the sacred act of creation unfolds before the audience’s eyes.

“̈LIQUID DIALOGUES” is a theatrical performance showcased at @anahuacalli in Mexico City as part of @mutekmx
/
“Liquid Dialogues “immerses the audience in a shared introspective journey, where music,symbolism, and physical expression come together to convey birth as both a literal and metaphorical act of creation. The performance represents an eccentric and public birthing ritual, where the focal point is the symbolic birth of a two-headed snake. This snake, a creature rich in mythological and cultural meanings, embodies duality, transformation, and the merging of opposing
forces. Each character involved in the performance carries a symbolic role that echoes the stages of birth: from the doulas to the fertilizer, the eternal
mirror, the mother, the spiral of infinite creation, and Hatis Noit’s@hatis_noit as theguiding voice.
Throughout this eccentric, “parto” (birth), the Anahuacalli Museum becomes a metaphorical birthing chamber, where the sacred act of creation unfolds before the audience’s eyes.

“̈LIQUID DIALOGUES” is a theatrical performance showcased at @anahuacalli in Mexico City as part of @mutekmx
/
“Liquid Dialogues “immerses the audience in a shared introspective journey, where music,symbolism, and physical expression come together to convey birth as both a literal and metaphorical act of creation. The performance represents an eccentric and public birthing ritual, where the focal point is the symbolic birth of a two-headed snake. This snake, a creature rich in mythological and cultural meanings, embodies duality, transformation, and the merging of opposing
forces. Each character involved in the performance carries a symbolic role that echoes the stages of birth: from the doulas to the fertilizer, the eternal
mirror, the mother, the spiral of infinite creation, and Hatis Noit’s@hatis_noit as theguiding voice.
Throughout this eccentric, “parto” (birth), the Anahuacalli Museum becomes a metaphorical birthing chamber, where the sacred act of creation unfolds before the audience’s eyes.

“̈LIQUID DIALOGUES” is a theatrical performance showcased at @anahuacalli in Mexico City as part of @mutekmx
/
“Liquid Dialogues “immerses the audience in a shared introspective journey, where music,symbolism, and physical expression come together to convey birth as both a literal and metaphorical act of creation. The performance represents an eccentric and public birthing ritual, where the focal point is the symbolic birth of a two-headed snake. This snake, a creature rich in mythological and cultural meanings, embodies duality, transformation, and the merging of opposing
forces. Each character involved in the performance carries a symbolic role that echoes the stages of birth: from the doulas to the fertilizer, the eternal
mirror, the mother, the spiral of infinite creation, and Hatis Noit’s@hatis_noit as theguiding voice.
Throughout this eccentric, “parto” (birth), the Anahuacalli Museum becomes a metaphorical birthing chamber, where the sacred act of creation unfolds before the audience’s eyes.

̈LIQUID DIALOGUES” is a theatrical performance showcased at @anahuacalli in Mexico City as part of @mutekmx
In Nahuatl, the term "Anahuacalli" beautifully translates to "house surrounded by water." This phrase carries a deep cultural and metaphysical significance, often associated with the ancient Aztec worldview and their reverence for the elements of nature.the metaphor between "Anahuacalli" and the placenta as the sacred liquid of life highlights the cyclical and interconnected nature of existence, emphasizing the reverence for water as a symbol of life, transformation, and the eternal flow of creation. This metaphor enriches the thematic depth of "Liquid Dialogues" by connecting the tangible world of the museum to the intangible and mystical journey of life, birth, and existence.

Orly Anan and @hatis_noit , each celebrated for their unique talents, collaborate harmoniously.Their artistic synergy creates a mesmerizing and harmonious narrative, weaving together the threads of sound and movement to craft a extraordinary performance that transports the audience beyond the realms of ordinary theater. It invites participants to embark on an immersive, introspective journey through the interplay of music, physical expression, and symbolism.
-

̈LIQUID DIALOGUES” is a theatrical performance showcased at @anahuacalli in Mexico City as part of @mutekmx
In Nahuatl, the term "Anahuacalli" beautifully translates to "house surrounded by water." This phrase carries a deep cultural and metaphysical significance, often associated with the ancient Aztec worldview and their reverence for the elements of nature.the metaphor between "Anahuacalli" and the placenta as the sacred liquid of life highlights the cyclical and interconnected nature of existence, emphasizing the reverence for water as a symbol of life, transformation, and the eternal flow of creation. This metaphor enriches the thematic depth of "Liquid Dialogues" by connecting the tangible world of the museum to the intangible and mystical journey of life, birth, and existence.

Orly Anan and @hatis_noit , each celebrated for their unique talents, collaborate harmoniously.Their artistic synergy creates a mesmerizing and harmonious narrative, weaving together the threads of sound and movement to craft a extraordinary performance that transports the audience beyond the realms of ordinary theater. It invites participants to embark on an immersive, introspective journey through the interplay of music, physical expression, and symbolism.
-

̈LIQUID DIALOGUES” is a theatrical performance showcased at @anahuacalli in Mexico City as part of @mutekmx
In Nahuatl, the term "Anahuacalli" beautifully translates to "house surrounded by water." This phrase carries a deep cultural and metaphysical significance, often associated with the ancient Aztec worldview and their reverence for the elements of nature.the metaphor between "Anahuacalli" and the placenta as the sacred liquid of life highlights the cyclical and interconnected nature of existence, emphasizing the reverence for water as a symbol of life, transformation, and the eternal flow of creation. This metaphor enriches the thematic depth of "Liquid Dialogues" by connecting the tangible world of the museum to the intangible and mystical journey of life, birth, and existence.

Orly Anan and @hatis_noit , each celebrated for their unique talents, collaborate harmoniously.Their artistic synergy creates a mesmerizing and harmonious narrative, weaving together the threads of sound and movement to craft a extraordinary performance that transports the audience beyond the realms of ordinary theater. It invites participants to embark on an immersive, introspective journey through the interplay of music, physical expression, and symbolism.
-

Los ojos hablan primero.

Los ojos hablan primero.

Los ojos hablan primero.

Los ojos hablan primero.

Los ojos hablan primero.

Los ojos hablan primero.

Los ojos hablan primero.

Los ojos hablan primero.

Los ojos hablan primero.

Los ojos hablan primero.

Los ojos hablan primero.

Los ojos hablan primero.

Los ojos hablan primero.

Los ojos hablan primero.

Los ojos hablan primero.

Los ojos hablan primero.

Los ojos hablan primero.

Los ojos hablan primero.

Pollera Vortex is a ritual performance that reimagines the pollera—the traditional skirt of cumbia dancers from the Caribbean coast of Colombia—as a cosmic apparatus. Rather than functioning solely as folkloric costume, the pollera becomes a gravitational force: a vortex linking hips to earth, body to rhythm, and matter to trance.

The work proposes a speculative vision in which the universe unfolds beneath the pollera itself. What appears as fabric becomes a portal—an intimate cosmos in motion—inviting the audience into a state of feminine, erotic, and ecstatic activation. This trance is not framed through binary notions of femininity or masculinity, but emerges instead through a queer ritual language that destabilizes conventional representations of gender within cumbia and folkloric dance.

Rooted in the artist’s place of origin, Pollera Vortex operates as a deconstruction of the cumbia pollera from the Caribbean coast of Colombia.

The performance unfolds within a red carpet installation that simulates a circular rueda de cumbia, a communal dance structure central to Caribbean ritual practices. Three performers inhabit this space: a central figure embodying the musicians—guides of trance—invokes the presence of candles through smoke and breath, while two orbiting bodies move as celestial forms, echoing the rotational logic of the skirt.

Pollera Vortex unfolds as both fantasy and provocation—a magnifying lens held beneath the pollera, revealing what is often unseen: desire, rhythm, vibration, and the sacred potential of the body in motion. The work becomes a ritual of collective looking, where folklore, queerness, and erotic energy converge to activate a shared, altered state.

Performance activation— 10 min

Showing at @apolemia________
Brussels 2025
-
Directed by @orlyanan
With fantastic performers
@lydiamcglinchey
@marbares_
@thirdworldbb
-
Curatorial sound by @don_alirio
Costume design department @di_martinex

Pollera Vortex is a ritual performance that reimagines the pollera—the traditional skirt of cumbia dancers from the Caribbean coast of Colombia—as a cosmic apparatus. Rather than functioning solely as folkloric costume, the pollera becomes a gravitational force: a vortex linking hips to earth, body to rhythm, and matter to trance.

The work proposes a speculative vision in which the universe unfolds beneath the pollera itself. What appears as fabric becomes a portal—an intimate cosmos in motion—inviting the audience into a state of feminine, erotic, and ecstatic activation. This trance is not framed through binary notions of femininity or masculinity, but emerges instead through a queer ritual language that destabilizes conventional representations of gender within cumbia and folkloric dance.

Rooted in the artist’s place of origin, Pollera Vortex operates as a deconstruction of the cumbia pollera from the Caribbean coast of Colombia.

The performance unfolds within a red carpet installation that simulates a circular rueda de cumbia, a communal dance structure central to Caribbean ritual practices. Three performers inhabit this space: a central figure embodying the musicians—guides of trance—invokes the presence of candles through smoke and breath, while two orbiting bodies move as celestial forms, echoing the rotational logic of the skirt.

Pollera Vortex unfolds as both fantasy and provocation—a magnifying lens held beneath the pollera, revealing what is often unseen: desire, rhythm, vibration, and the sacred potential of the body in motion. The work becomes a ritual of collective looking, where folklore, queerness, and erotic energy converge to activate a shared, altered state.

Performance activation— 10 min

Showing at @apolemia________
Brussels 2025
-
Directed by @orlyanan
With fantastic performers
@lydiamcglinchey
@marbares_
@thirdworldbb
-
Curatorial sound by @don_alirio
Costume design department @di_martinex

Pollera Vortex is a ritual performance that reimagines the pollera—the traditional skirt of cumbia dancers from the Caribbean coast of Colombia—as a cosmic apparatus. Rather than functioning solely as folkloric costume, the pollera becomes a gravitational force: a vortex linking hips to earth, body to rhythm, and matter to trance.

The work proposes a speculative vision in which the universe unfolds beneath the pollera itself. What appears as fabric becomes a portal—an intimate cosmos in motion—inviting the audience into a state of feminine, erotic, and ecstatic activation. This trance is not framed through binary notions of femininity or masculinity, but emerges instead through a queer ritual language that destabilizes conventional representations of gender within cumbia and folkloric dance.

Rooted in the artist’s place of origin, Pollera Vortex operates as a deconstruction of the cumbia pollera from the Caribbean coast of Colombia.

The performance unfolds within a red carpet installation that simulates a circular rueda de cumbia, a communal dance structure central to Caribbean ritual practices. Three performers inhabit this space: a central figure embodying the musicians—guides of trance—invokes the presence of candles through smoke and breath, while two orbiting bodies move as celestial forms, echoing the rotational logic of the skirt.

Pollera Vortex unfolds as both fantasy and provocation—a magnifying lens held beneath the pollera, revealing what is often unseen: desire, rhythm, vibration, and the sacred potential of the body in motion. The work becomes a ritual of collective looking, where folklore, queerness, and erotic energy converge to activate a shared, altered state.

Performance activation— 10 min

Showing at @apolemia________
Brussels 2025
-
Directed by @orlyanan
With fantastic performers
@lydiamcglinchey
@marbares_
@thirdworldbb
-
Curatorial sound by @don_alirio
Costume design department @di_martinex

Pollera Vortex is a ritual performance that reimagines the pollera—the traditional skirt of cumbia dancers from the Caribbean coast of Colombia—as a cosmic apparatus. Rather than functioning solely as folkloric costume, the pollera becomes a gravitational force: a vortex linking hips to earth, body to rhythm, and matter to trance.

The work proposes a speculative vision in which the universe unfolds beneath the pollera itself. What appears as fabric becomes a portal—an intimate cosmos in motion—inviting the audience into a state of feminine, erotic, and ecstatic activation. This trance is not framed through binary notions of femininity or masculinity, but emerges instead through a queer ritual language that destabilizes conventional representations of gender within cumbia and folkloric dance.

Rooted in the artist’s place of origin, Pollera Vortex operates as a deconstruction of the cumbia pollera from the Caribbean coast of Colombia.

The performance unfolds within a red carpet installation that simulates a circular rueda de cumbia, a communal dance structure central to Caribbean ritual practices. Three performers inhabit this space: a central figure embodying the musicians—guides of trance—invokes the presence of candles through smoke and breath, while two orbiting bodies move as celestial forms, echoing the rotational logic of the skirt.

Pollera Vortex unfolds as both fantasy and provocation—a magnifying lens held beneath the pollera, revealing what is often unseen: desire, rhythm, vibration, and the sacred potential of the body in motion. The work becomes a ritual of collective looking, where folklore, queerness, and erotic energy converge to activate a shared, altered state.

Performance activation— 10 min

Showing at @apolemia________
Brussels 2025
-
Directed by @orlyanan
With fantastic performers
@lydiamcglinchey
@marbares_
@thirdworldbb
-
Curatorial sound by @don_alirio
Costume design department @di_martinex