saturday 17.10. 20h
Catalina Insignares
H O L L O W
performance
TALA PLE(j)S
saturday 17.10.
20h
performance
TALA PLE(j)S
Catalina Insignares
H O L L O W

For some time now, I've been interested in artistic forms that exhibit the mutual transformability of intention and matter. Running through Catalina Insignares's H O L L O W are several transformations: of presence, of song, of space-time.

Catalina Insignares is an artist who has long cultivated a relationship with the invisible, the dead, and the environment. Her instruments in this communing are mainly her ears — she listens deeply — and her voice, greeting the unseen and speaking to its presence. Greeting the obscure presences of inner and outer space, she opens the performance, her voice probing the resonant darkness of H O L L O W. The artist's voice, a body turned psychograph, traces the shapes of what we don't register as we encounter the empty hall.

With her vibrating theatre, Catalina establishes an atmosphere of holiness; still, over time, this sacredness is inhabited by another invisible. The ambiguous, visceral growling slowly reconfigures into a profane movie tune — not desecrating the hollow of H O L L O W and its significations, but opening toward the so-called lows and highs of culture, building up to a form of secular sacredness: a sacredness belonging to worldly time rather than eternity.

And then, of course, comes a surprise.

Marko Gutić Mižimakov

 H O L L O W is inhabited by a half-fictional character that resonates with stories and invisible sounds carried by the walls, floor, ceiling, bones, veins, guts, and the things brought in by others. Her throat and voice are amplifiers of the frequencies that circulate in matter. Things have veins and these veins carry debris, residues of life.

Different songs and texts make appearances in the middle of a tuning-channel of noise, sounds and memories. Musician Sher Doruff materially manifests as one of these appearances, coming in to join for a set of songs in what seems to be a post-mortem cabaret.

H O L L O W invites you to attune to the subtle currents running through bodies and spaces. Veins become carriers of sound, caves echo forgotten voices. Through delicate movement, light, and sound, she makes the invisible palpable, from inaudible vibrations to tangible silences. Together with an intimate audience, we open a space where the sensorial and the fictional blend, and every resonance leaves a trace.

In collaboration with Glasno pitanje

Concept & performance: Catalina Insignares
Guest appearance: Sher Doruff
Dramaturgy of light and darkness: Carolina Mendonça
Reflections, beams and gleams: Leticia Skrycky
Costume piece: Anna Schall
Photos: Alan Jeuland
Solo collaborators for the previous versions: Mlondiwethu Dubazane, Ana Dubljevic, Veza Fernández, Gérald Kurdian, Nikita Maheshwary, Melina Stinson, Pauline Tremblay

For some time now, I've been interested in artistic forms that exhibit the mutual transformability of intention and matter. Running through Catalina Insignares's H O L L O W are several transformations: of presence, of song, of space-time.

Catalina Insignares is an artist who has long cultivated a relationship with the invisible, the dead, and the environment. Her instruments in this communing are mainly her ears — she listens deeply — and her voice, greeting the unseen and speaking to its presence. Greeting the obscure presences of inner and outer space, she opens the performance, her voice probing the resonant darkness of H O L L O W. The artist's voice, a body turned psychograph, traces the shapes of what we don't register as we encounter the empty hall.

With her vibrating theatre, Catalina establishes an atmosphere of holiness; still, over time, this sacredness is inhabited by another invisible. The ambiguous, visceral growling slowly reconfigures into a profane movie tune — not desecrating the hollow of H O L L O W and its significations, but opening toward the so-called lows and highs of culture, building up to a form of secular sacredness: a sacredness belonging to worldly time rather than eternity.

And then, of course, comes a surprise.

Marko Gutić Mižimakov

 H O L L O W is inhabited by a half-fictional character that resonates with stories and invisible sounds carried by the walls, floor, ceiling, bones, veins, guts, and the things brought in by others. Her throat and voice are amplifiers of the frequencies that circulate in matter. Things have veins and these veins carry debris, residues of life.

Different songs and texts make appearances in the middle of a tuning-channel of noise, sounds and memories. Musician Sher Doruff materially manifests as one of these appearances, coming in to join for a set of songs in what seems to be a post-mortem cabaret.

H O L L O W invites you to attune to the subtle currents running through bodies and spaces. Veins become carriers of sound, caves echo forgotten voices. Through delicate movement, light, and sound, she makes the invisible palpable, from inaudible vibrations to tangible silences. Together with an intimate audience, we open a space where the sensorial and the fictional blend, and every resonance leaves a trace.

In collaboration with Glasno pitanje

Concept & performance: Catalina Insignares
Guest appearance: Sher Doruff
Dramaturgy of light and darkness: Carolina Mendonça
Reflections, beams and gleams: Leticia Skrycky
Costume piece: Anna Schall
Photos: Alan Jeuland
Solo collaborators for the previous versions: Mlondiwethu Dubazane, Ana Dubljevic, Veza Fernández, Gérald Kurdian, Nikita Maheshwary, Melina Stinson, Pauline Tremblay

Catalina Insignares Martinez(*1987) is a choreographer, dancer and dramaturge. Born and raised in Bogotá, she is based in Europe since 2010, and in Brussels since 2022. She’s interested in how to use the sensorial and fictional means of the body and of touch to develop ways to communicate with the invisible. Her practice includes, among others, a duet danced with a participant over a few weeks (us as a useless duet—2015), a night reading addressed to sleeping bodies (useless land—2017), and sensory practices that listen to the connections we have with the dead (landscapes of the dead – 2019; to know the vultures so well—2022), and a vocal form of listening to the veins of the world (h o l l o w, 2025). Since 2015, she collaborates with Carolina Mendonça, maintaining close complicity in different manners of working together in teaching, and in each other's works. Since 2017, she has been working with Myriam Lefkowitz in a collaboration that seeks to infiltrate sensory practices in the social and political realities of exiled peoples (La facultad—2017). From 2019 to 2022 Catalina developed her research as part of DAS THIRD in Amsterdam. From 2019 to 2024 she was a co-curator at the Gessnerallee in Zurich. Catalina has been periodically invited to intervene in different schools as guest teacher or mentor (DAS Choreography, P.A.R.T.S, University of Giessen, Antwerp's conservatory). She works as a somaticist in the Master Program Live Art Forms in the Nuremberg Academy of Fine Arts.

Catalina Insignares Martinez(*1987) is a choreographer, dancer and dramaturge. Born and raised in Bogotá, she is based in Europe since 2010, and in Brussels since 2022. She’s interested in how to use the sensorial and fictional means of the body and of touch to develop ways to communicate with the invisible. Her practice includes, among others, a duet danced with a participant over a few weeks (us as a useless duet—2015), a night reading addressed to sleeping bodies (useless land—2017), and sensory practices that listen to the connections we have with the dead (landscapes of the dead – 2019; to know the vultures so well—2022), and a vocal form of listening to the veins of the world (h o l l o w, 2025). Since 2015, she collaborates with Carolina Mendonça, maintaining close complicity in different manners of working together in teaching, and in each other's works. Since 2017, she has been working with Myriam Lefkowitz in a collaboration that seeks to infiltrate sensory practices in the social and political realities of exiled peoples (La facultad—2017). From 2019 to 2022 Catalina developed her research as part of DAS THIRD in Amsterdam. From 2019 to 2024 she was a co-curator at the Gessnerallee in Zurich. Catalina has been periodically invited to intervene in different schools as guest teacher or mentor (DAS Choreography, P.A.R.T.S, University of Giessen, Antwerp's conservatory). She works as a somaticist in the Master Program Live Art Forms in the Nuremberg Academy of Fine Arts.