•ORLY ANAN •

🔥 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

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 Comedia y 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 🤍

̈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 deeper currents. 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 the guiding 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. -

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

Partituras autobiográficas a partir de la memoria corporal (Autobiographical Score from Embodied Memory), 2025 Workshop performance Festival No Convencional, Teatro Delia Zapata Olivella 40 minutes @eneldelia @festivalnoconvencional_bogota — A call for applications through the Delia Zapata Olivella Theater and the Festival No Convencional brought together a group of queer-identified performers to explore the body as a living biography. Conceived as a preparatory workshop for a forthcoming large-scale performance, Partituras autobiográficas a partir de la memoria corporal examined how the body remembers, resists, and reveals. Drawing on sociologist Erving Goffman’s The Presentation of Self in Everyday Life (1956)—a seminal study of the individual’s inclination toward theatrical self-presentation—the workshop invited participants to engage in corporeal activations that surfaced embodied memories. By tracing bodily maps through silhouettes, the gathering became a site of shared healing and collective intimacy. Through monologues and manifestos, the resulting preliminary performance grappled with the politics and complexities of gender identity, giving each participant three to four minutes to activate the stage. Their longstanding work with queer-identified communities infused the process with an educational and socially conscious dimension. - Commissioned by : @eneldelia & @festivalnoconvencional_bogota Director Orly Anan Costume Selection @muare.costumes Production Company @nova_et_vetera_performingarts Producers Camila Hernandez Claudia C. Manuela Montero Performers Jhon Barreto Juan P. Anira Edi De Amor Xarce Andrade Jorge Bernal Manuela Botero Roma Dragaldeza Juan Daniel Velasquez Lighting Jorge Enrique Forero Santiago Rengifo Nicolas Bernal

Partituras autobiográficas a partir de la memoria corporal (Autobiographical Score from Embodied Memory), 2025 Workshop performance Festival No Convencional, Teatro Delia Zapata Olivella 40 minutes — A call for applications through the Delia Zapata Olivella Theater and the Festival No Convencional brought together a group of queer-identified performers to explore the body as a living biography. Conceived as a preparatory workshop for a forthcoming large-scale performance, Partituras autobiográficas a partir de la memoria corporal examined how the body remembers, resists, and reveals. Drawing on sociologist Erving Goffman’s The Presentation of Self in Everyday Life (1956)—a seminal study of the individual’s inclination toward theatrical self-presentation—the workshop invited participants to engage in corporeal activations that surfaced embodied memories. By tracing bodily maps through silhouettes, the gathering became a site of shared healing and collective intimacy. Through monologues and manifestos, the resulting preliminary performance grappled with the politics and complexities of gender identity, giving each participant three to four minutes to activate the stage. Their longstanding work with queer-identified communities infused the process with an educational and socially conscious dimension. - Commissioned by : @eneldelia & @festivalnoconvencional_bogota Director Orly Anan Costume Selection @muare.costumes Production Company @nova_et_vetera_performingarts Producers Camila Hernandez Claudia C. Manuela Montero Performers Jhon Barreto Juan P. Anira Edi De Amor Xarce Andrade Jorge Bernal Manuela Botero Roma Dragaldeza Juan Daniel Velasquez Lighting Jorge Enrique Forero Santiago Rengifo Nicolas Bernal

Video shoot with Bolex/16mm ̈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 @alejandrogamezc @evanmbrown