Rocio Marano is an Argentine-Spanish dancer, performance artist, choreographer and video maker based in Berlin since 2015. She studied at Escola Superior d’Art and Disseny of the Balearic Islands while she was part of physical theatre company VEDEAT in Palma de Mallorca, Spain. She received the danceWEB scholarship to assist to Impulstanz Contemporary Dance Festival in 2016. She is currently studying maChoreography at HFS, Berlin (2019-2021). She has experience performing on stage and in museums, including the interpretation of Tino Sehgal’s artwork KISS (2002) at Kunsten – Museum of Modern Art Aalborg; Stream Switch (2018) in collaboration with theatre makers Thea Reifer and Phillip Bergman, presented in Hamburger Bahnhof – Museum for Gegenwart – Berlin, 2019.
Her own work includes MONEY CURE (2020), INSANITY SOLO (2017) shown at Bienal de Performance de Buenos Aires BP17; DANZA SIN FIN – video-documentary -(2012). Since 2014, she has co-created together with Lea Kieffer under the pseudonym of Los(t) Ninjas (BLIND DATE, 2019; GRAND NORTHAMERICAN TOUR, 2018 – MATTER OF BLOOD, 2016 – IBIZA LABOUR CAMP, 2015)
They together have shared Los(t)NinjasPractice workshops and performances in Europe, Southamerica, North America and as part of the exhibition Immersions – Welt ohne Aussen- Martin Gropius Bau Berlin (2018). Since two years she develops a site-specifc research, Together with Thomas Proksch, called SPIRITS OF PLACES. This multidimensional research explores the choreographies of the interdependence between bodies and the natural environment of a place. They advocate a fuid practice between dance, installation, visual arts, sound art, video, herbalism and ritual.
Body itself conforms an important individual archive of conscious and unconscious behaviors, experiences, beliefs, dreams and at the same time, it is the container of intrinsic collective cultural, genetic and ancestral significance. In a society that is ruled by visual sense and relies so much on the image, the body become the place to project trauma and prejudice, shame and guilt. While the modern western society prices certain physical characteristic over others, certain qualities over others, it’s a personal and artistic quest for me, to dismantle the oppression exerted on bodies, transform them and emancipate them from this contrains.
In my work, the fictional factor is important because it creates distance with the subject investigated. Humor and irony are side effect that emerge from the process of deconstructing the external parameters which we live upon, sometimes to the point of absurdity. For me, it’s important to create space for new narratives, criticism, and reflections that go beyond our common consensual reality. This impersonations that I embody are identification with the obscure, the quirk, the monstrous, the unusual in order to embrace them and liberate them. The ambiguity in which I approach a matter leaves enough space to the audience, in order to find own associations, positions and reflections within the work.
Berlin, Palma de Mallorca