Projects (All) | cajimenezg

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Alejandra Jimenez

Teatro e artes ao vivo

Café Cabinet

Café Cabinet is an audio interactive installation that displays the stories of a distant and unknown maternal lineage. In this café, one listener at a time can join and interact with different moments of Alba’s work as a copera. Her passion for tango music, her treasures and hardships are narrated by her daughter and granddaughter. The cabinet is a microcosmos that links what’s (un)known about Alba. Café Cabinet wants to establish a relationship of complicity between the audiences and the stories. This is a project by CAJG and Aurelio Meza.

- Resonant Roots encompasses Alba’s story (the artist's great-grandmother) narrated through the voices of her daughter and granddaughter. While a video is projected, the performer enacts physical movements and interacts with objects around the space. Within this maternal lineage, some stories want to be told, others are hidden or denied. Are those stories somehow imprinted in the performer’s body, although unknown? What are the resonances of her body with the audio archives of her distant lineage?
- mise en corps/puesta-en-cuerpo: performative talk which outlines the research process on the concept of public women, focusing on the role of coperas. Also, it draws on the dramaturgical guidelines, the exploration of storytelling, and the creative questions raised to develop these pieces.

Resonant Roots: an intergenerational storytelling

This project includes a solo performance (resonant roots) and a performative talk: (mise en corps/puesta-en-cuerpo) which zooms in on the role of coperas (women who worked at cafés, combining traditional waitressing with some escorting services without necessarily being sex workers) in Colombia.

Intimate Listening

In an intimate space, a copera will interact with volunteer participants who visit this spot individually. Before the interaction begins, each participant will be given a token amount, which will be used to exchange stories and typical beverages of the Colombian cafés. The tokens have different values, and will determine the type of story, drink and interaction the visitor may have with the copera. After those tokens are consumed, the next participant is invited to visit the spot. This immersive theatre game delves into the notions of intimate labor, embodied listening, and care.

This is a collective creation process between two theatre makers and a writer whose life experiences guided them to explore this non-conventional theatre piece. They come from three Latin American countries sharing the same language. After many talks, they discovered their need to stage these stories, which integrate fictional and non-fictional characters and situations.

Migratory Birds

Migratory Birds tells the stories of three characters who come to Canada. It explores their relationships with non-human species, work, solitude, and nostalgia as they navigate the city's daily life and question their inclusion in a new world. The characters struggle with cultural distances and their feelings, creativity, and knowledge, creating routes for encounters, appreciation, and love. Performed in English, Duration: 60 mins

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A collaborative game between Ale and Idun for the GameBling game jam (tag) 48 hours during winter 2023.

Cat Luck

A collaborative game between Ale and Idun for the GameBling game jam (tag) 48 hours during winter 2023.

This is an interdisciplinary approach to analyzing gender in metal music. It comprises two sections: a performative writing piece and a video essay. Through these devices, I dive into how the metal scene is a space where gender-sexist practices continue happening. Although metal is a cultural and political practice that has contributed to reconfiguring societies, it is paradoxical that the power of communities in the scene still reproduces models of intersectional violence in their everyday expressions. Furthermore, this proposal addresses that it is valuable that, slowly, metal studies are opening spaces to discuss and implement practices to empower women's positionalities. By revisiting the concept of listening positionality proposed by Dylan Robinson, we might identify the experiences that influence how we perceive, interact and engage with the sound around us. By deconstructing the veil of music as "universal pleasure" and considering its intersectionalities, by challenging us in our positionality, music can deconstruct the violent perceptions of colonial epistemologies and normative practices around our interactions with sound. In this regard, the video essay is an experimental point of view on the theatricality of metal video clips, in its recurring tropos and the poetic intertextualities that will challenge the audience's informed listening. By imagining different futures and myths, as metal, science fiction, and feminism does, the video essay delves into the ideas of posthumanism to understand metal scenarios, their representations and everyday practices.

#metalstudies #performancestudies #interdisciplinarity #genderstudies #metalera #epistemologiasfeministas #scifi #reset

feast or war: a ghost name to talk about metal

This is an interdisciplinary approach to analyzing gender in metal music. It comprises two sections: a performative writing piece and a video essay. Through these devices, I dive into how the metal scene is a space where gender-sexist practices continue happening. By imagining different futures and myths, as metal, science fiction, and feminism does, the video essay delves into the ideas of posthumanism to understand metal scenarios, their representations and everyday practices.

Global Dialogues

Promoting an encounter of voices from diverse communities in Montreal to think together and take transformative actions in a culturally inclusive environment through word circles and action spirals.
This project was recipient of the Elspeth McConnell Fine Arts Internship Award. Winter 2023.

Collaborative work between Alejandra Jimenez, Chrysi Kyratsou, Katarzyna Musial, Runze Feng – Montréal, Belfast, Guangzhou for the Public Arts Garage summer seminar 2022.

streets are (not) ours

Collaborative work between Alejandra Jimenez, Chrysi Kyratsou, Katarzyna Musial, Runze Feng – Montréal, Belfast, Guangzhou for the Public Arts Garage summer seminar 2022.

- anarchiving the body
- an interaction between different methods and embodied responses in the process of doing-feeling-thinking
- an approach to understanding the relationship between body, archive and the transmission of knowledge

affections and moves

mise/en/corps: puesta en cuerpo
- anarchiving the body
- an interaction between different methods and embodied responses in the process of doing-feeling-thinking
- an approach to understanding the relationship between body, archive and the transmission of knowledge

Collaborative notebook with @isdraken. Final presentation for the class Poetics of relation, with Erin Manning.

opacity

Collaborative notebook with @isdraken. Final presentation for the class Poetics of relation, with Erin Manning.

The collective Cyborg was created in 2020 by artists Alejandra Jiménez and Pablo Mosquera. P(l)andemia, is a piece played remotely and telematically, each one from their country of residence. This performance consists of two actions: Dystopia and Humans are bio-hazardous, in which video, body and sound intervene. Through the narratives generated in a process of video correspondence and actions performed by each artist, we reflect on the social realities generated from and by confinement.

P(l)andemia

The collective Cyborg was created in 2020 by artists Alejandra Jiménez and Pablo Mosquera. P(l)andemia, is a piece played remotely and telematically, each one from their country of residence. This performance consists of two actions: Dystopia and Humans are bio-hazardous,

During the Concordia International Graduate Summer School, “Experiential learning in Contemporary Circus Practice: Methods in research-creation, action-research and participant observation. " this project as an exploration on embodiment and research-creation through physical training. It is a reflection on experiential learning that analyzes how circus / physical theater are intersectional methods of art(s)-based inquiries. Writing this text allowed me to look into my own personal, professional and academic contexts.

Burning the house

This project was an exploration on embodiment and research-creation through physical training. It is a reflection on experiential learning that analyzes how circus / physical theater are intersectional methods of art(s)-based inquiries.

This is a performative piece that invites audience participation. Through four moments, where action, food and voice serve as sensory media for the participant. The structure is close to a ritual, in which each moment corresponds to a natural element that is related to a part of the body, an event and a reflection or doctrine. Every moment is based on a triad of existing relationships determined as follows:
1. Earth-Seeds-Mining: body
2. Fire-Food-war: Eyes
3. Water-drink-woman: Mouth
4. Air-party-spirit: Nose.
I take as my leitmotiv the story of the Mayan hero Jacinto Canek and the homonymous work by the Mexican Emilio Abreu Gómez, of which Vendimia Teatro also made an adaptation.

Las Transfiguraciones del Ensueño

This is a performative piece that invites audience participation. Through four moments, where action, food and voice serve as sensory media for the participant.

This workgroup/shop seeks to explore the concepts of hostility and hospitality within the intersections of space, sensoriality, urban life, perception, representation, and relational art. We want to problematize the legitimacy of the map as a domination technique by contrasting it with individual and subjective cartographies that allow a relationship with the city not structured by urban planning. We are interested in exploring the embodied experience of an urban space through the senses (hearing and sight mostly, but also smell, touch, and taste), using the sensory walk as a research tool on experience and identification of cultural codes. These techniques will allow us to recognize the gestures of urban life, its dynamics and temporalities. What is the imprint of the city on the human body and its gestures? How to document or intervene in spaces marked by certain subjectivities in/of the city (hostile places, places of desire, etc.) in relation to social, economic or political aspects? Is an ethical approach to social dynamics possible through sensory immersion? Our methodology and work dynamic will focus on the embodied and sensorial experience through the compilation, re-interpretation and intervention of audio-visual documents (mainly maps, photos, audio clips and video).
(Co-Conveners: Amanda Gutierrez, Aurelio Meza and Alejandra Jiménez)

Sensoriality and the City: Cartographies of Subjectivity

Workgroup for the Hemi GSI Convergence 2017 exploring the concepts of hostility and hospitality within the intersections of space, sensoriality, urban life, perception, representation, and relational art.

Bogotá’s Urban Transport becomes a mobile scenery of everyday life. Passengers are also public and characters within these spaces. In Montreal´s STM, I will perform different actions, based on Invisible Theatre situations, to register the reactions of passengers and their possible intervention assuming a role in quotidian circumstances.

Public transport/Daily stages

Bogotá’s Urban Transport becomes a mobile scenery of everyday life. Passengers are also public and characters within these spaces. In Montreal´s STM, I will perform different actions, based on Invisible Theatre situations, to register the reactions of passengers and their possible intervention assuming a role in quotidian circumstances.

“Flaubert 20 routes” is the video register and selection of different performances given in the Bogota’s urban transport, which convey how buses and small buses might become a mobile scenery. It is a context that gives way to the reflections of an actress, based on texts from Gustave Flaubert (France 1821-1880) on common themes related to civility and social live, as he said, for a good society, without considering moral aspects. In this sense, it is the portrayal of scenery which is being inhabited in a quotidian manner by passengers who, at the same time, are both known characters of the urban environment and audience. From the point of view of a video recorder, one observes that it is the public itself that decides to participate in the disquisition game by assuming and acknowledging the role of spectator-actor (Augusto Boal) in quotidian circumstances. The aim is to observe from an ironic angle how in these theatrical situations there is anthropological, cultural and political concurrence.

Flaubert 20 Rutas

“Flaubert 20 routes” is the video register and selection of different performances given in the Bogota’s urban transport, which convey how buses and small buses might become a mobile scenery.

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