aniara rodado
artist · choreographer · researcher
Beyond dance and the human body: countercolonial experimentation with bodies, plants, substances and technologies
Currently
Bonche Archivo (Installation & Performance in collaboration with Camilo Martinez)
2026 10-19/09/2026
Festival de la Imagen Manizales, Bogotá, Colombia
Trans-Species Intelligence and Embodied Cosmotechnics (Research Residency with composer Luca Forcucci)
23/09-03/10/ 2026
-i2ADS – School of Music and Performing Arts, University of Porto, Portugal
Conference: Flying Cream and Roundtable with Helen Torres and Loredana Wolpe 13–16/11/2026
XVII Sui Generis Festival, Casa del Lector, Matadero, Madrid, Spain
Selected Work
FLYING CREAM
series
cream · installation · performances · fanzine · moving image · web visual essay
Flying ointment was traditionally associated with European witches, yet its actual nature was largely erased by the censorship surrounding psychoactive plants and vulvas. In my project Flying Cream, I take this story as a starting point to investigate the historical erasure of knowledge. I bring ancestral plant knowledge into dialogue with contemporary biotechnology. During an art/science residency with Génialis Biotech, I developed a cream designed to treat vaginal dryness. I also created a manifesto, “Against Witch Washing,” an installation, three live performances, a fanzine, and a web-based visual essay.
Flying Cream — Installation
Against Witch Washing — Manifesto & Fanzine, free edition upon request → Contact
21 People, 21 Days — Collective Performance & Fanzine
Against Witch Washing — Video-Choreographic Installation
Flying Ointment: Material Memory of an Epistemicide? — Web Visual Essay
Flying Cream — Interactive Stage Performance
artificial life & intelligence
TIRED SOIL, EXUBERANT LIFE
series
installation · performance · publication · moving image
Agave, Coca, and Yuca Brava grow in poor soils and places under intense sunlight, yet have sustained communities across Abya Yala for thousands of years. These plants have also been entangled in wars, extraction, displacement, and the forced migration of species and peoples. In this trilogy, I take this paradox as a starting point to ask what knowledge survives when a plant is forced to migrate, and how these migrations might reconfigure our world at a time of accelerating global soil impoverishment. I bring situated plant practice into dialogue with biologists, weavers, anthropologists, elders, growers, and processors who continue to live and work with these plants.
The trilogy has developed through material and artistic experimentation in Mexico and Colombia: with Agave, a woven installation, performance and publication; with Coca, a documentary video installation and performance developed in dialogue with Nasa and Misak communities in Cauca and drawing on my own family archive; and with Yuca Brava, an ongoing research process in Inírida involving cassava biopolymers, publication, performance, chemical transformations with gold, moving image and the sebucán.
TRANSMUTATION DE BASE / ALIEN-MIGRATION
choreographic installation
Transmutation de base / Alien-Migration takes eucalyptus as a starting point to investigate how ideas of migration, race, labour, and displacement are projected onto plant life. Often reduced to a fast-growing imported tree that ends up damaging biodiversity, eucalyptus has its own complex history of movement, extraction, and transformation across territories.
During residencies at Emmetrop in Bourges, at the fluid mechanics laboratory of École Polytechnique, and at Rural Scapes in Minas Gerais, Brazil, I developed an immersive and participatory installation in which the audience moves through a space shaped by the plant itself. Through distillation, smell, sound, and movement, the piece asks what happens when we stop assuming that we already know how a plant should be understood.