Alina Ruiz Folini


21 April: 15:45 ALINA - AEROMANCY
22 April: 18:15 ALINA - (film) - You don't need to fly to touch a toxic cloud
23 April: 18:00 ALINA - RUIDO ROSA
23 April: 19:30 ALINA - (film) - You don't need to fly to touch a toxic cloud


“THE STUDY THAT I HOLD IS LIKE THE VOICE VIBRATING INSIDE MY THROAT: humid, hot, trembling and full of air” is the research that guides my journey through DAS CHOREOGRAPHY, focusing on the relation between dance, body, and voice across various dimensions: physical, sonic, vocal, sensorial, poetic, environmental and political.

This process practices voice(s) as a technology for enchantment, fabulation and collective memory, while forging unexpected kinships. By exploring the threshold where language, sound, breath, and vibration intersect, I investigate liminal spaces as well as sensory aspects of words and the hallucinated anatomies that arise from them. I understand these practices as forms of resistance and continuity. I explore these ways of studying, rehearsing, imagining and re-inventing actions and corporealities, considering their resilient vulnerabilities against colonial extractive practices and cis-hetero-normative powers.

I am an artist, researcher and curator born in Argentina. My work traverses various practices that nourish one another: choreography, writing, pedagogies of the body, dance and thought. I am a non-binary trans person, engaged in art networks and activisms in Latin America since 2011. Accompanying me are stories, gestures, collaborations, and materials—some vibratory, others invisible, or difficult to control. These materials include oracles, the sense of touch, the sound of the voice, breathing, telepathic practices, ghosts and translations between worlds. I dedicate myself to creating conditions to transform our bodies to know or be aware differently. Senses become antennas to identify damages and question the modern concept of separability.

I will share experiences I have developed over the last two years based on the idea of study as a situated practice. I aim to plot ways of deprogramming, hacking, listening, and also, defending the joy of experimenting. Throughout these three days I will share three different objects, one each day, that are gathered in the constellation: “Aeromancy”, “You don't need to fly to touch a toxic cloud” and “Ruido Rosa”. 


April 21st

As terrestrial beings we spend our lives dividing and recycling the planet's air as we breathe. We are connected by a continuous and invisible gaseous exchange, which makes us interdependent, blurring inside and outside, mixing human and non-human lives, geological and future times.

“Aeromancy” creates fictions of a community connected through the collective rhythms of breathing, capable of "reading" the air as if interpreting an oracle. The work is poised as an invitation to imagine a breathing that is not only physiological and mechanical, but also affective, transformative, delirious, sensual and based on strange metabolisms.

What happens if we focus on our lungs as if they were eyes? And how can we conspire from structurally unequal lungs?

Choreography, direction and performance: Alina Ruiz Folini

Co-creation and performance: Emily da Silva and Bibi Dória

Light: Lui L'Abbate

Content note: optional respiratory proximity

*initiated from the invitation of the TERRA BATIDA network in Portugal.


You don't need to fly to touch a toxic cloud 

April 22nd and 23rd

After getting to know the “Panasqueira Mines”, in a mountainous region in Portugal, a strong sensation of suffocation remained in my throat, motivated by different causes: the contaminating particles that flowed invisibly in the air; the silenced stories of the miners and their companions; and also, the monoculture of the compulsive heterosexual system. 

From this experience, we focus on the gesture of breathing and discover that breathing can be as empathic and sensual as it is sinister and toxic. 

What is that altered air that performs with us and that we metabolize every day? What do we imagine while we become smoggy?

Film co-created with Patricia Black. 

Text: Alina Ruiz Folini. 

Performance: Alina Ruiz Folini, Bibi Dória, Emily da Silva.


April 23rd

As if language were a virus that infected the world with normativity, binarism and separability, “Pink Noise” shakes the sound vibrations of voice and words to create transmutations. It stimulates listening and oral imagination, transiting a practice that concentrates on the pulsation of what resonates and the erotics of what vibrates. Words could lose their central place and dissolve in the orifices, invoking sensorial and more-than-human properties of language.

Choreography and performance: Alina Ruiz FoliniSound collaboration: Isadora Tomasi; Map: Maura Grimaldi and Alina Ruiz Folin


RUIDO ROSA - new version - | Choreography, performance: Alina Ruiz Folini; Sound Collaboration Isadora Tomasi; Map: Maura Grimaldi and Alina Folini

RUIDO ROSA - first version - | Choreography and performance: Alina Ruiz Folini; Artistic collaboration: Josefa Pereira; Research in materials and costumes: Marine Sigaut; Light: Victor Colmenero Mir; Support: Materiais Diversos (PT) Grand Studio Brussels (BEL) Forum Dança (PT) 

Alina Ruiz Folini were a roller skater for 15 years, marking their obsession for hallucinated temporalities and multiplicity. Magnetized by physical experiences, nerdy studies of bodies and magical narratives since they were a child, they touch on the complexities of practice, promoting collective ways of doing and fighting for structural transformations, never in a straight line. They were born in Argentina and have lived in Brazil, Uruguay, New York, Lisbon and Amsterdam, most of the time lost in translation.

Their formal education includes an MA in Performance Practice and Visual Culture (2018) - Reina Sofia Museum (Madrid) and PACAP (2020) - Forum Dança (Lisbon). Alina is also director of the platform "Archeologies of the Future" in Buenos Aires. Their work was presented in Judson Church, Center for Performance Research (US), JUNTA Festival (BR), La Casa Encendida (SP), NIDO Festival (UY), NAVE (CL) and Dona Maria National Theater (PT). They have been a dancer in "Trilogía Antropofágica", directed by Tamara Cubas (UY) and co-created “Oracle of Vegetal Beings” with Ana Rita Teodoro (PT), “Spillovers" with Ritò Natálio (PT), “Tactile Project” with Leticia Skrycky (UY).

Bibi Doria is a Brazilian artist who works at the intersection between dance, performance and cinema, interested in memory, archive, choreography, fiction, dogs and cakes.

Emily da Silva is a dancer who invests in multidisciplinary collaborations, interested in the community as a way to enhance work practices.

Lui L'Abbate is a black queer transdisciplinary artist of light and space and works mainly with dance, performance and concerts.

Patricia Black is a film artist from Brazil working in the realms of cinema, performance and installation space, experimenting with ghosts, spellbounds and identity conflicts stemming from contemporary displacement movements.

Isadora Tomasi is anAmsterdam-based performance and sound artist. Their work shifts between movement practices, writing, singing, music and sound within the performance setting.

Maura Grimaldi is aBrazilian non-binary artist transiting between academic research and artistic practice, using photography, painting, drawing-design, writing and more recently, cinema. 

Mentors: Ritò Natálio, Veza Fernández and Carolina Campos; Tutors: Konstantina Georgelou and Jeroen Fabius; Support: Gulbenkian Scholarship for Arts Training Abroad (Portugal),Terra Batida, Festival Alkantara.Residency support: Associação Parasita, Espacio Piscina.

Thanks to Juli Frodermann, Lucas Lagomarsino, Ainhoa Hernandez, Alex Blum, Nina Botkay, Ritò y Penélope, Catalina Lescano, Isis Andreatta, Zander Porter, Simone Weber, Mario Lopes, Simone Truong, Ahmed El Gendy, Leandro Souza, Cornelius M, Laura Ramirez Ashbaugh, Clarinde Wesselink, Juan Felipe Amaya, Jordan Lloyd, Setareh Fatehi, Alice Chauchat, velvet leigh, Harco Haagsma, Udo Akemann, Martin Brans and Yeng Nacion.