• Fuga / Fuego
  • Fuga / Fuego II
  • En estas cuatro huellas
  • Tramas y fuentes
  • Teaching at End of Times
  • Emmanuela Soria Ruiz
  • Ya los brazos le crecían
  • Running Water
  • Private Speculations
  • Floating Match on Card
  • The Longest Leg
  • Entre dos columnas
  • La Frontera del grifo
  • Contact
Emmanuela Soria Ruiz
Contact
Fuga / Fuego
Fuga / Fuego II
En estas cuatro huellas
Tramas y fuentes
Private Speculations
Ya los brazos le crecían
Running Water
Floating Match on Card
The Longest Leg
Entre dos columnas
La Frontera del grifo
Teaching at End of Times
Two Hunting Blinds for Hiding or Attaching, 2021. Plexiglass, wood. 
A still life of bay / Daphne leaves, 2021. Bay leaves, wood. Dimensions Variable. 
A still life of bay / Daphne leaves, 2021. Bay leaves, wood. Detail. 
A still life of bay / Daphne leaves, 2021. Bay leaves, wood. Detail.
Ya los brazos le crecían, 2021. Installation view, dimensions variable.
A chorus of Syrinx flutes saying no, 2021. Modified fan motor, steel, pan flutes. Dimensions variable. 
A chorus of Syrinx flutes saying no, 2021. Modified fan motor, steel, pan flutes. Detail.
A chorus of Syrinx flutes saying no, 2021. Modified fan motor, steel, pan flutes. Detail.
The sound of wind, 2021. Steel, polyester fabric, wood.
The sound of wind, 2021. Detail. 
Ya los brazos le crecían,  2021. Performance still. 
Ya los brazos le crecían,  2021. Performance still. 
Ya los brazos le crecían,  2021. Performance still. 
Ya los brazos le crecían,  2021. Performance still. 
Ya los brazos le crecían,  2021. Performance still. 
Ya los brazos le crecían,  2021. Performance still. 
Ya los brazos le crecían,  2021. Performance still. 
Ya los brazos le crecían,  2021. Performance still. 

Ya los brazos le crecían (2021) is a performance with objects that follows the structure of a play. It is part of ongoing research that examines myths from Ovid’s Metamorphoses, in which nymphs transform into objects and in order to escape sexual assault. This performance proposes a feminist and post-humanist reading of these myths through a dramaturgy that decenters human perspective on the stage, focusing instead on scenography and props. The scenes themselves refer to the transformed nymphs, invoking their presence in their non-human form. The only human agents are moving professionals who periodically carry out scene changes. Experts in the change of objects and their care, they practice the feminist principle of caring and maintenance of environments. It was performed in May 2021 at the Icebox Project Space in Philadelphia. Performers: Suso Phizer and Fred Schmidt-Arenales. Documentation: Chantal Vorobei-Thieves.

Two Hunting Blinds for Hiding or Attaching, 2021. Plexiglass, wood. 
A still life of bay / Daphne leaves, 2021. Bay leaves, wood. Dimensions Variable. 
A still life of bay / Daphne leaves, 2021. Bay leaves, wood. Detail. 
A still life of bay / Daphne leaves, 2021. Bay leaves, wood. Detail.
Ya los brazos le crecían, 2021. Installation view, dimensions variable.
A chorus of Syrinx flutes saying no, 2021. Modified fan motor, steel, pan flutes. Dimensions variable. 
A chorus of Syrinx flutes saying no, 2021. Modified fan motor, steel, pan flutes. Detail.
A chorus of Syrinx flutes saying no, 2021. Modified fan motor, steel, pan flutes. Detail.
The sound of wind, 2021. Steel, polyester fabric, wood.
The sound of wind, 2021. Detail. 
Ya los brazos le crecían,  2021. Performance still. 
Ya los brazos le crecían,  2021. Performance still. 
Ya los brazos le crecían,  2021. Performance still. 
Ya los brazos le crecían,  2021. Performance still. 
Ya los brazos le crecían,  2021. Performance still. 
Ya los brazos le crecían,  2021. Performance still. 
Ya los brazos le crecían,  2021. Performance still. 
Ya los brazos le crecían,  2021. Performance still. 

Ya los brazos le crecían (2021) is a performance with objects that follows the structure of a play. It is part of ongoing research that examines myths from Ovid’s Metamorphoses, in which nymphs transform into objects and in order to escape sexual assault. This performance proposes a feminist and post-humanist reading of these myths through a dramaturgy that decenters human perspective on the stage, focusing instead on scenography and props. The scenes themselves refer to the transformed nymphs, invoking their presence in their non-human form. The only human agents are moving professionals who periodically carry out scene changes. Experts in the change of objects and their care, they practice the feminist principle of caring and maintenance of environments. It was performed in May 2021 at the Icebox Project Space in Philadelphia. Performers: Suso Phizer and Fred Schmidt-Arenales. Documentation: Chantal Vorobei-Thieves.