PRESS
BORDERLINE
- Página/12: link | pdf
“Patricio Suárez and Rhea Volij did it again: they joined forces to create a visionary dance, a work that devours the present, chews it up, and spits it out to the world, illuminating its hidden vertices and revealing the eerie mechanisms that stealthily operate on all identity, geography, and everyday life.”
- Agencia Paco Urondo: link | pdf
“How a life is crafted in the common space that remains available between barbed wires, walls, and the conceptual and ideological boundaries that define who is recognized as a fully entitled human being, and who is not.”
- Instituto de Artes del Espectáculo | UBA: link
- link | pdf
“Theatrical forces as part of the dance of a body that seems to be pierced by the ten thousand forces of human history —or human hysteria, the dramatic and frenetic dialogue between surrender and resistance”
ARGENTINEAN MEAT
- PÁGINA 12 – ALEJANDRO DRAMIS link | pdf
“The dance work of Patricio Suárez in which four masculinities continuously mutate in the dystopia of a post-existential world where terror, the remnants of patriarchal capitalism, and bodily overadaptation dominate everyday life.”
- REVISTA Ñ (CLARÍN) – LAURA FALCOFF link | pdf
“The question about illusion, especially in Latin American metropolises, sparked by the constant advancement of technological careers and the adherence to devices that are already like prosthetics of our bodies; (…) and in contrast, the increasing precariousness of our lives.”
- TELAM link
“It is a raw theatrical reflection on the current economic and social system.”
- AGENCIA PACO URONDO link
“The title plays with the two central themes that run through the piece: the review of male sentimental education and the repressive training of ‘virile’ bodies, and on the other hand, the social laboratory in which we live, which combines the fantasy of the technological race with the increasing precariousness of existence.”
- EL DESTAPE WEB link
“Carne argentina (Prelude…), by Patricio Suárez, will arrive this Thursday at 9 PM at the El Galpón Guevara theater in Buenos Aires to offer a raw reflection on the current economic and social system, through a ‘very dynamic production with a strong visual and aesthetic impact’.”
- BALLETIN DANCE link | pdf
“The production proposes a live arts performance that combines elements of dance, physical theatre, and visual disciplines, opening up reflection on the construction of masculinity imaginaries in an era of social control in this digital society.”
- ESPECTÁCULOS DE ACÁ link | pdf
“With a high expressive content and a scenographic approach led by Patricio Suarez, Carne Argentina proposes the language of the body to speak of desires, prohibitions, efforts, struggles, competitions, and affiliations.”
“I am skeptical of the assertiveness with which masculine deconstruction is mentioned, or the simplistic integration of the feminist movement’s emergence into our lives.”
“A play about the drifts of ‘masculinity’ in the times of feminisms.”
“A unique production whose political gaze becomes poetic on stage.”
“With a proposal where visual impact plays an important role, four performers represent various versions of man in the big city. A production that seduces.”
“Is there any possibility of escaping from the phallic or hetero-patriarchal morality with which we have grown up? (…) In what areas of our experience does patriarchy continue to shape our obedience and unhappiness, making us believe that in this way we preserve our ‘identity’?”
“The aesthetic proposal is a hybrid that blends virtuality and physical presence among bodies and technologies. It also manages to bring together with humor characteristics of capitalism such as absurd competition and commodity fetishism.”
“In this performative essay, the four performers —of intense and potentially charismatic stage presence— seem to attempt to dance emptiness, vacuity, or to suffocate or expose rebellions in a constant systole and diastole of inexhaustible suggestion.”
- BALLETIN DANCE link
“Certain ‘violent’ incidents (…) from the exclusion of marginalized individuals, deaths in competition, and street aggressions both among individuals and between institutions and people, could be associated with something of the crisis in Argentine identity in the times we are going through.”
“With a high expressive content and a scenographic approach led by Patricio Suarez, Carne Argentina proposes the language of the body to speak of desires, prohibitions, efforts, struggles, competitions, and affiliations.”
- REVISTA EL INCONSCIENTE link
“The four performing artists will dance, feel, and exquisitely embody their characters, thus constructing the dramaturgy proposed by Patricio Suárez, who also masterfully directs this quartet.”
- SUDAKATLGBI link
“Combining a series of languages, the theater-dance work poses as a reflection on imposed socio-political structures (…) for centuries.”
“He premiered the theater-dance work on masculinity in crisis and the relationship between body and technique in the ‘third world’ metropolis.”
THE TRAP OF THE LOST PARADISE
- Diario Página/12: enlace a nota | pdf
“Rhea Volij and Patricio Suárez direct the production that examines ‘the possibility of blurring certain identity boundaries between genders, but also between the human, the animal, and the machine.’”
- Diario Página/12: enlace a nota | pdf
“Butoh dance crossed with feminist readings: the pandemic interpreted through theater. Should performing arts change as a result of the pandemic? This question is attempted to be answered by the moving bodies in <<The Trap of the Lost Paradise.>>”
- Diario Página/12: enlace a nota | pdf
“The Trap of the Lost Paradise, the new work by Patricio Diego Suárez and Rhea Volij, in which cyborg philosophy intersects with Butoh dance through a cyberpunk aesthetic that deconstructs bodies, genders, and identity boundaries between animals, machines, and humans—all without saying a word.”
- Revista “Otra parte”: enlace a nota | pdf
“With striking synchrony and coordination given the unusual, anomalous, monstrous nature of their movements, we witness bodies oscillating between programmed and efficient spasms of the robot and sudden animalities, as if in the suspensions of dominant efficacy, the organic wildly shoots towards the apex of its earthly history.”
- Revista Coordenada Teatral: enlace a nota | pdf
“Fragmented bodies, with automated, robotic movements. Eyes that look without seeing. Disciplined bodies, restrained by ominous black squares, placed on nipples, knees, elbows, hips, neck (…). Solitary, trembling bodies that impact and move in this high-flying poetic trap.”
- Revista Anccom: enlace a nota | pdf
“We wonder why and how bodies were configured into genders and modes. We consider breaking them down into as many parts as possible, which implies a rupture of these ‘real’ bodies, which in turn are mere constructions.”
- Revista Anred: enlace a nota | pdf
“A contemporary dance piece that explores the possibilities of creating values and maintaining some beauty in a 21st century that is rapidly heading towards the inconsequential and the silent degradation of all those paradises that have not been.”
- Revista Goenescena: enlace a nota | pdf
“An original and powerful dance performance that questions the limits of gender and genres, reaffirming the Nietzschean concept that points to the necessity of contemplating form ‘as the true content’.”
- Revista Craneapolis: enlace a nota | pdf
“There’s something animal that blends with the robotic, as if it were a strange clone mixing genes with cybernetics.”