1.0wpZimmerhttps://wpzimmer.spot-digital.co/en/Merel Van de Gehuchtehttps://wpzimmer.spot-digital.co/en/author/carine/rich600338<blockquote class="wp-embedded-content" data-secret="P6JCp3DB6b"><a href="https://wpzimmer.spot-digital.co/en/artists/maria-jerez/">Maria Jerez</a></blockquote><iframe sandbox="allow-scripts" security="restricted" src="https://wpzimmer.spot-digital.co/en/artists/maria-jerez/embed/#?secret=P6JCp3DB6b" width="600" height="338" title="“Maria Jerez” — wpZimmer" data-secret="P6JCp3DB6b" frameborder="0" marginwidth="0" marginheight="0" scrolling="no" class="wp-embedded-content"></iframe><script> /*! This file is auto-generated */ !function(d,l){"use strict";l.querySelector&&d.addEventListener&&"undefined"!=typeof URL&&(d.wp=d.wp||{},d.wp.receiveEmbedMessage||(d.wp.receiveEmbedMessage=function(e){var t=e.data;if((t||t.secret||t.message||t.value)&&!/[^a-zA-Z0-9]/.test(t.secret)){for(var s,r,n,a=l.querySelectorAll('iframe[data-secret="'+t.secret+'"]'),o=l.querySelectorAll('blockquote[data-secret="'+t.secret+'"]'),c=new RegExp("^https?:$","i"),i=0;i<o.length;i++)o[i].style.display="none";for(i=0;i<a.length;i++)s=a[i],e.source===s.contentWindow&&(s.removeAttribute("style"),"height"===t.message?(1e3<(r=parseInt(t.value,10))?r=1e3:~~r<200&&(r=200),s.height=r):"link"===t.message&&(r=new URL(s.getAttribute("src")),n=new URL(t.value),c.test(n.protocol))&&n.host===r.host&&l.activeElement===s&&(d.top.location.href=t.value))}},d.addEventListener("message",d.wp.receiveEmbedMessage,!1),l.addEventListener("DOMContentLoaded",function(){for(var e,t,s=l.querySelectorAll("iframe.wp-embedded-content"),r=0;r<s.length;r++)(t=(e=s[r]).getAttribute("data-secret"))||(t=Math.random().toString(36).substring(2,12),e.src+="#?secret="+t,e.setAttribute("data-secret",t)),e.contentWindow.postMessage({message:"ready",secret:t},"*")},!1)))}(window,document); </script> https://wpzimmer.spot-digital.co/wp-content/uploads/retrato_maria_cred_helena_hidalgo-e1583328155352.jpg498341Her work travels “between” choreography, cinema and visual arts. Since 2004, she has made pieces that explore the relationship with the spectator as the space in which the modes of representation are put into crisis. From El Caso del Espectador to her last pieces Blob, Yabba or The Stain this relation has mutated from a place of “understanding” of theatrical and cinematographic conventions, that is, from the expertise, to the intentional loss of references where the artist, the piece and the spectator behave towards each other as strangers.