Traslaciones temporales. How did I get here? This question comes from a far away tune A dramatic news that transformed me forever The walls that support me A space that becomes strange The impossible The unknown The unchangeable Advances and moves, remaining irremediably trapped in the inexorable, the pass of time.

El Lugar de los Cuerpos Pesados. To push, to retain, to hold, to fall, to carry, those are the possibilities of a corporal gesture when it has been stripped of human feelings, confronted to survive and be conscious in the basic physics laws. Objects reduced to their basic functions, extracted from a subway world, metaphor of a space prior to any dialectical determination.

With few resources for production and visualization, El Pez Dorado has a great interest in giving importance to promoting collaborations between art networks and the public in general and providing visualization and development of the various forms of contemporary dance in our regions. Our work has a defined aesthetic and technical proposal that has been developed within years of experience, dedication, and rigor of the performers and creators that compose it. It’s a work that explores the possibilities of the body as an essential and autonomous element, it offers many resources for narratives within a dramatic structure conceived through contemporary dance





There’s someone in the house. Intertwined stories share as a scenario the interior and exterior of a house, where the narrative disperses into a space of allusions to film genres, presences, tornadoes, fears, and nightmares, inviting the viewer to the exercise of observing and imagining. So, is there someone in the house, is it the alert of a lurking intruder, or simply the affirmation that this space is inhabited?

Hill Below. The rebel angels fell expelled from some ideal place. Falling down a rabbit hole, Alice, in her Wonderland, enters a space of absurdities and paradoxes. The stone of Sisyphus falls, again and again, showing us, perhaps, the meaninglessness that runs through existence. David Wojnarowicz’s snorts fall attracted by the void. Attracted by this same emptiness, Yves Klein, in the 1960s, takes a photo of himself jumping out of a window. Like falling, in “Colina Abajo”, the action “falling” continues to accompany us as an enigmatic symbol of poetry and action, as a powerful resonance within our own being.

What would have been better: to have paid much more, or somewhat less attention? This question acts as a clue and a path for our perception and reflection. As if coming out of a natural or post-apocalyptic catastrophe, a group of survivors transports us through the events of past lives, which are reflected in each other’s lives and, perhaps, in us. In a sort of recounting of memory, the members of the group go through memories that, at the time, went unnoticed, trivialized, “everyday” or normalized by apathy. Memories that, in this dramatic moment, return once again to claim a minute of observation, perception, understanding or rejection.

Nuptials. Nuptials… Because I conceive this project as a ritual and, at the same time, as a celebration, which arises from the (fleeting) encounter with the Compañía Nacional de Danza del Ecuador. We will make of this formal laboratory as well as a “narration” of the group, the mass, and the ensemble of the group, the mass and the ensemble. A choreographic ritual and a quasi-political almost political memory. Indeed, what does it mean to form a team? What does it mean to be free with others? What does it mean to be free with others? What is our individual responsibility when we form a society? Can we renounce our individual can we renounce our individual sovereignty and find another force to act? I wish to trace the lines of rupture as the strong clashes of individual bodies and the clashes of individual bodies and the collective body. Here, the bodies are subjected to simple devices that interrogate their as individual bodies, but also their organization as a whole. A sober and summary parable of an obvious political questioning: What is a group? What is the alliance between us, what are the nuptials that are the foundations of the group? What is the alliance between us? What are the nuptials that found the whole?

Compañía Nacional de Danza del Ecuador has a trajectory of 46 years, in which it has developed a technical, interpretative, and artistic work that differentiates it and positions it as one of the greatest exponents of contemporary dance in the region. Our institution considers of great value and importance the call opened by the Plataforma Iberoamericana de Danza (PID), since the development and visualization of the performing arts are essential for the cultural and social development of our countries. The collaborative ties between performing spaces, networks, artists, critics, and the general public transform and enrich the artistic work of our institution.

ARTISTIC COMPANY Compañía Nacional de Danza del Ecuador (CNDE)




Transdisciplinary artist. She began her training in dance in Bordeaux presenting works in several festivals in France. She realized several scenic projects and artistic residencies in Paris in 2009. She then dedicated herself to the spiritual practice of yoga and meditation for several years. She is a USFQ Alumni, she combines psychology with performing arts, installation and visual arts. She is a recipient of a COCOA art award in 2017. She trained in curatorship in contemporary art at IMCR in Mexico in 2018. She has held exhibitions and presentations at +Arte Galería, Arte Actual Flacso, Centro Cultural Metropolitano, Teatro Variedades, Fábrica Imbabura, Salida de Emergencia (Cuenca), Casa de la Cultura Ecuatoriana de Quito, Independent exhibitions Cuenca BIenal 2018, among others. She has participated in several national projects and has won several awards. She has presented works in France, Argentina, Mexico, Colombia, Spain and Ecuador. In 2018 she creates together with Transhumanxs CUERPA(S) International Performance Festival. In 2020 she wins the Al-Zurich Art Prize for Art and Community 2020. In 2021 she is selected in C.O.C.A Art Project (Spain, Italy, Switzerland) and in the artistic platform EcoArt Projects in New York. Participates in the group exhibition Cuerpos-Cuerdas in the 4th Encuentro de Arte Mujeres Ecuador at the Alianza Francesa. In 2022 participates in Latitudes Hybridas Performance Biennal in Bolivia. The same year she is selected by Uberbau_house Artistic Residency in Sao Paulo, Brasil and for the New York Latinamerican Triennal in U.S.A. She participates in PAUSA performance Art USA in BRAC at Bronx NYC. Lives and works in Quito.

I have a lot of experience in the field of performing arts and have collaborated on several projects in Ecuador and other countries. Contemporary dance has been the basis of my work and I think my work is a good reference for other artistas in my country and internationally. I am glad to be part of a community which cares about performing arts and dance.

ARTIST Alexandra Trujillo Tamayo




I am an Ecuadorian, a contemporary dancer with more than 14 years of experience. I am a sociologist specializing in the culture and development of Pontificia Universidad Catolica del Ecuador – 2007. Graduated with a master’s degree in dance movement therapy from Universidad Nacional del Arte Buenos Aires Argentina – in 2013. I have training in contemporary dance, body expression, and specialization in children’s yoga. I have trained with dancers from all over the world: Colombia, Ecuador, Mexico, Argentina, and the United States. I believe that dance is possible for all people, regardless of age, body, gender, etc. This has led me to create artistic projects that have integrated people with physical disabilities, older adults, and children.

An own methodology has been created based on dance movement therapy and contemporary dance. This methodology allows everyone to dance. People are encouraged to take contemporary dance in the artistic and health field.

ARTIST Magaly Carolina Llumipanta Vaca