{"id":133,"date":"2018-09-11T18:17:19","date_gmt":"2018-09-11T18:17:19","guid":{"rendered":"http:\/\/loie.com.ar\/?page_id=133"},"modified":"2019-05-31T15:38:30","modified_gmt":"2019-05-31T15:38:30","slug":"quienes-somos","status":"publish","type":"page","link":"https:\/\/loie.com.ar\/en\/quienes-somos\/","title":{"rendered":"Who we are"},"content":{"rendered":"

<\/p>\n

We are interested in dance in interaction with technology, the performative body, the writing about that dance and about that boby.<\/p>\n

We are interested in capturing, divulging, and exchanging that which we believe, some times naively, evanescent. Photography, audiovisual record, writing, and any other support which is as a body as the rhythm of breathing or the contraction of a muscle.<\/p>\n

Dance and Performance in relation to devices, media and materialities are our obsession and our Object, and that\u2019s why Lo\u00efe Fuller\u2019s dance petals have inspired our logo.<\/p>\n

We are a space, a place to travel through, to participate and, if wanted, to stay.<\/p>\n

But always, in movement.<\/h4>\n

Susana Temperley
\nDirectora General
\nVER BIO
\nMagdalena Casanova
\nEditora Responsable
\nVER BIO
\nMar\u00eda Jos\u00e9 Rubin
\nEditora Biling\u00fce
\nVER BIO
\nFrancesca Carol Rolla
\nEditora
\nVER BIO
\nSilvina Szperling
\nDirectora de RRPP y Prensa
\nVER BIO
\nNatalia Aguiar
\nAsesora legal<\/p>\n

\n
\n
\n
\n

SUSANA TEMPERLEY<\/strong><\/h3>\n

GENERAL DIRECTOR<\/h4>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
\n
\n
\n
\n
\n

Temperley is an Specialist in Critic and Divulgation of the Arts (UNA\/National University of the Arts), as well as in Analysis of Choreographic Production (UNLP\/National University of La Plata), and Licentiate in Social Communication (UBA\/National University of Buenos Aires)). Since 2007 is a Professor in Semiotics and Theory of Communication, as well as in Semiotics of the Arts at the Arts Criticism Area (UNA).<\/p>\n

For the last decade, she is dedicated to study the relationship between dance and technology and their problematics around contemporary art languages. She has published articles about this topic in Argentinean and international media. Temperley is author of the book Videodanza, Complejidad y Periferia. Hacia una plataforma de an\u00e1lisis de la danza en interacci\u00f3n con la tecnolog\u00eda (Screendance, Complexity And Periphery. Towards a Platform for Analysis of Dance in Interaction with Technology, 2017, RGC, Buenos Aires) and and Co-compiler of the book Terps\u00edcore en Ceros y Unos. Ensayos de Videodanza (Terpsichore in zeros and ones. Videodance Essays, 2010, Guadalquivir, Buenos Aires).<\/p>\n

\n
\n
\n
\n

MAGDALENA CASANOVA<\/strong><\/h3>\n

RESPONSIBLE EDITOR<\/h4>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
\n
\n
\n
\n
\n

She is an Specialist in Critic and Divulgation of the Arts -UNA\/National University of the Arts, Argentina-, MFA candidate also at UNA, and teacher at the subject \u201cGeneral History of the Movement Arts\u201d at the Trans-departamental Area of Arts Criticism, UNA.<\/p>\n

Casanova is a dance critic. Researcher at UNA\u2019s IIEAC (Research Institute of Arts Criticism) where she works on the discourse analysis of Contemporary Dance criticism in Buenos Aires, and, independently, about Education through movement. She has presented the results of these investigations in several Conferences and Symposia, and has published numerous articles in diverse Argentinean media.<\/p>\n

Magdalena is a dancer and contemporary dance teacher, and has worked as a choreographic and direction assistant for dance and theatre pieces en obras.<\/p>\n

\n
\n
\n
\n

MAR\u00cdA JOS\u00c9 RUBIN<\/strong><\/h3>\n

BILINGUAL EDITOR<\/h4>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
\n
\n
\n
\n
\n

Mar\u00eda Jos\u00e9 Rubin is a teacher-researcher at Universidad Nacional de las Artes (National University Of The Arts, in a research project directed by Oscar Traversa), as well as at UBA (University of Buenos Aires). Critic and journalist specialized in dance for Revol and \u00d1 magazines.<\/p>\n

Member of Grupo de los S\u00e1bados (Saturday\u2019s Group), research and writing project coordinated by Claudia Groesman. Editor of Videodanza, Complejidad y Periferia. Hacia una plataforma de an\u00e1lisis de la danza en interacci\u00f3n con la tecnolog\u00eda (Complexity And Periphery. Towards a Platform for Analysis of Dance in Interaction with Technology, 2017, RGC, Buenos Aires) by Susana Temperley. Curatorial and grant writer at VideoDanzaBA International Festival.<\/p>\n

\n
\n
\n
\n

FRANCESCA CAROL ROLLA<\/strong><\/h3>\n

EDITORA<\/h4>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
\n
\n
\n
\n
\n

Francesca Carol Rolla (Venice, 1986) is a performance art curator, writer, and PhD candidate in Visual Arts at the Doctoral School of Humanities of the University of Strasbourg (FR) with the thesis “Letters to a Radical Performance Curator”. Aligning the curatorial practice with a performative mode of research, and with the aims to set foundations for radical interaction and new terms of exchange, she explores new contemporary approaches to artistic creation and reflection, there where the meaning and value for a responsible and independent co-authorship involves both artists and curators in co-creative processes. She has trained, worked and collaborated with artists such as Bill Viola, Alejandro Jodorowski, Marilyn Arsem, Preach R Sun, VestAndPage, Marcel\u2022li\u0301 Antu\u0301nez Roca, Antonio Manuel, Guillermo Gomez-Pen\u0303a and ORLAN, among others.<\/p>\n

Since 2014, she is an associate curator of the Venice International Performance Art Week, and coordinator of its Educational Learning Program realized in collaboration with Live Arts Cultures and other international partner organizations. Since 2017, she is an honorary member of La Pocha Nostra.<\/p>\n

Since 2019, Francesca Carol Rolla is on the board of LO\u00cfE. Magazine as Director of the “Performance Archive” section, with a strong interest of exploring the journey between curating research and performance writing.|\u00a0collectivesignatures.com<\/a>\u00a0|<\/p>\n

\n
\n
\n
\n

SILVINA SZPERLING<\/strong><\/h3>\n

PR AND PRESS DIRECTOR<\/h4>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
\n
\n
\n
\n
\n

Born in Buenos Aires in 1960. Departing from a strong background in contemporary dance, Szperling dove into video-dance (screendance), genre at which she is a pioneer in Argentina and Latin America.<\/p>\n

Several shorts of her have been awarded, such as “Temblor” (Best Editing by the National Secretariat of Culture) and “Ch\u00e1mame” (Prizes at La mujer y el cine and La noche del corto contests in Argentina; and Best Short in “dance screen” at IMZ\/Cinedans, Amsterdam).<\/p>\n

She is Founder Director of the International Festival VideoDanzaBA, since 1995. www.VideoDanzaBA.com.<\/p>\n

REFLEJO NARCISA (2015, 67\u2019), her first long documentary film, was awarded an Honorary Mention of the Jury at FEM CINE Chile. Premiered at MALBA (Museum of Latin American Art in Buenos Aires), it was screened at international festivals in Cuba, Uruguay, Paraguay, Peru, as well as many cities in Argentina.<\/p>\n

Silvina teaches video-dance at the Master\u2019s program in Alternative Cinema at EICTV (International School for Film and TV, San Antonio de los Ba\u00f1os, Cuba), as well as in numerous artistic and educational institutions in Argentina, America and Europe. She is a Professor in Dance Criticism at UNA (Universidad Nacional de las Artes, Argentina).<\/p>\n

Szperling was a critic at newspapers P\u00e1gina\/12 (Argentina) and La Opini\u00f3n (LA, USA), as well as in magazines such as Balletin Dance, Fun\u00e1mbulos (Argentina) and Dance Magazine EEUU).<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

<\/p>","protected":false},"excerpt":{"rendered":"

We are interested in dance in interaction with technology, the …<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-133","page","type-page","status-publish","hentry"],"acf":[],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/loie.com.ar\/en\/wp-json\/wp\/v2\/pages\/133","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/loie.com.ar\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/loie.com.ar\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/loie.com.ar\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/loie.com.ar\/en\/wp-json\/wp\/v2\/comments?post=133"}],"version-history":[{"count":4,"href":"https:\/\/loie.com.ar\/en\/wp-json\/wp\/v2\/pages\/133\/revisions"}],"predecessor-version":[{"id":2763,"href":"https:\/\/loie.com.ar\/en\/wp-json\/wp\/v2\/pages\/133\/revisions\/2763"}],"wp:attachment":[{"href":"https:\/\/loie.com.ar\/en\/wp-json\/wp\/v2\/media?parent=133"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}