Exhibition as part of the 22nd Circular Festival of Performing Arts

In this exhibition, I present twelve years of my video practice, both in digital format and on Super 8. From the movement of the body and dance to the movement of images, what has always interested me is rhythm, flow, the perception of time, and the mutual influence between human beings and nature.

– Cecilia Bengolea

At Galeria Solar, in Vila do Conde, artist Cecilia Bengolea presents six video works that, in a way, condense her way of thinking and making. They span a decade of work, from Bombom’s Dream (2016) to I 600 fili Spin and Break Free (2026).

There are two fundamental aspects to Cecilia’s work: dance, and the way dance makes possible a connection between bodies, sweat, emotions and thoughts that is radically different from the connections we establish through spoken language or any other artistic language. It would be very difficult to describe what all the works have in common, but there is one characteristic they share that is relevant throughout her video and dance practice: intensity.

The works are conceived to make us aware of the many layers that make up reality. Historical moments that speak of modes of production; bodies performing all kinds of tasks, experiencing all kinds of pain, some visible and others invisible. Her videos are also often filled with weather, with a climate that dances with the bodies embraced by rain or sunlight. Dryness dances, rain dances, class dances, poverty dances, nostalgia dances, as does profound sadness, and joy.

Let us think for a moment: autoeroticism is highly characteristic of our time. The beginning of the 21st century has made it clear that we are becoming increasingly alone. Capitalist structures have designed their entertainment tools with this in mind, perhaps even unconsciously. Devices are equipped with cameras to record and broadcast what we do, completely alone. We broadcast from a small personal space and watch those broadcasts through that narrow device, the mobile phone, itself as narrow as a corridor connecting all these infinite rooms filled with lonely people.

Streaming platforms and mobile phones have also made the old idea of watching a film together obsolete, or at least less desirable. Everything points towards solitude, a solitude that no one challenges while some tech oligarchs propose new ways of emphasising the obsolescence of the human species. Soon, if we listen to them, human beings and their bodies will be of no use.

Probably what I like most about Cecilia Bengolea’s work is that everything in it seems to scream in response to this argument: “Go to hell!” Yes, her work is a true awakening of bodies. An awakening to the frenetic emotions we feel when we encounter others and are with them in a relevant and meaningful way.

Her bodies trust. It is possible to feel that trust through the screen; it is possible to see how she films in such a way that our bodies want, truly want, to develop a response to those bodies. Suddenly, that infinite corridor of digital media becomes a huge hall, which we inhabit and enjoy together. It is difficult to watch her films without feeling the urge to move.

This magnetism is political. It is not merely a characteristic of her practice; it is also an aspiration of her thinking. It demands that we remain attentive to what is essential. Step away from the screen, move, and touch the bodies around you. Why? Because by building a sense of togetherness, we will be able to challenge what surrounds us.

Yes, we are now stuck. We feel frozen or strangely radical and subcultural when we develop a conservative view of life. But even voices and appeals to guilt and hatred would be seen differently if we were able to feel part of something.

In truth, togetherness is the antidote, and her films say so.

Go to hell and move.

— Chus Martínez