Dance the Problem
What do dancing, ballistics, problems and the devil have in common? What is the secret affinity between these four concepts? There is a common denominator between having a problem, colliding with the devil, accepting an invitation to dance and being hit by a projectile. Etymologically, IN SPANISH, they all share the same root, from the ancient Greek ballein, meaning, “to throw in order to hit”. How can a dance hit? What is the movement that triggers the violence of a blow? When can we say that dance has become a problem? With these premises, Diego has created a theatrical practice based on the affinity between dance and danger. The assertion that underlines this practice is that dance has to be forced and not a result of a benevolent desire to move.
Diego Agulló is an independent researcher and amateur artist working at the intersection between art and philosophy, mainly in the field of contemporary dance and performance. Diego investigates the affinity between body and event, between dance and problems, focusing on the unexpected encounter between the body and the forces of chaos and when the unpredictable irruption of an event demands to be articulated through artistic practice. Diego studied philosophy and has lived in Berlin since 2005. His work spans different media such as dance, performance, books, video art, research labs, the organisation of participatory events and daily qigong / Tai Chi training.
In 2017, Diego created the independent publishing house Circadian where he has published five books: Dangerous Dances (2015) in which he analyses the intimate affinity between dance, the problem, the devil and ballistics, Betraying Ambition (2017) where he unfolds a critique of the ideological implications of ambition in the art world, Risking the Self (2019), an interplay between philosophy, Tai Chi and psychedelia, The Conversation Book (2021), questions to open the portal to parallel lives, and together with Maryna Makarenko, Biting the Night (2022), experiments on voluntary insomnia.