Ariana Pirela Sánchez

19.08.20 09.09.20

Ariana Pirela Sánchez is a Venezuelan/Spanish artist who has lived and worked in Canada since 2010. She works as a dancer, performer, choreographer, and video-maker. Her work includes dance choreographies, in-situ performances, video and installations. She explores the close relationship of the body with its environment and questions the interrelationship between dance, territory, performance, and image.

Emotions, nature and political issues are indeed a great source of inspiration for her body language, but also for the aesthetics of her choreographic universe. Emotion is always present there, whether it is brought in a poetic, sensual, gestural, playful, or incisive way. The autobiographical aspect is mainly to treat an aspect of herself that she wishes to dig, exaggerate, and exhibit to the public.

As for her video projects, the body and movement are omnipresent and subjects of the work. Through her practice in contemporary dance and through her camera, Ariana takes an original look at the dancing bodies that she frames with the sensitivity of a director, a choreographer and a performer.


The body as a territory, but also as a place of transformation.
During this program at ´ace, I reflected on my inner shelter and how can I create a safe space within my own body. I also expanded my practice to see how emotions and movements get connected to bring a sensation of security. I articulated words and body movements to explore how we move when we feel safe, how we shelter in the dark, and how we shelter in the day.

The videos and the movements have different textures that were sometimes melting or very contrasting, the work was very metaphorical to present the dual state of safety and unease. The piece Keep the contact reflects the idea of taking care. Taking care is also about keeping the contact, the touch, with others and with oneself, is about moving and being active in the constant search of balance.

Ariana Pirela Sánchez
1986 | Venezuela
Lives and works in Montréal, Canada

2009 | BA in Mass Media with a mayor in AudioVisual Arts from the Andrés Bello Catholic University in Caracas, Venezuela
2014 | Diplôme d’études collégiales – Professional Dance Studies, L’école de danse de Québec, Canada

2020 | Résonance, Festival de danse servi au volant, Sherbrooke, Canada
2019 | Manos de Mujer at Festival Vue Sur La Rélève and Cuisine Ta Ville, Montréal, Canada
2018 | Manos de Mujer, Festival Phénomena, Montréal, Canada
2018 | I’m not her, New Blue Dance Festival, Toronto, Canada
2018 | I’m not her, RURART, Cookshire-Eaton, Canada

2020 | Réseau Accès Culture, Maison de la Culture Janine-Sutto, Montréal, Canada
2020 | Conseil des Arts de Montréal, Montréal, Canada
2020 | Montréal Arts Interculturels, Montréal, Canada
2018 | RURART (Contemporary Art in rural environment), Cookshire-Eaton, Canada
2017 and 2016 | Centre Q, Ottawa, Canada

Related Activities

Exhibitions, Together Apart

#1 | SHELTER: results
Artists in dialogue


During 2020, we carried out the first two sessions of Together Apart. The first session took as a conceptual and practical framework the REFUGE and the second, the NEST.

Through those starting points, both of which refer to caring atmospheres and structures for coexistence, we were able to think and create in a wide variety of directions and layers. We reflected on our pandemic context, a situation for which we had to find ourselves in the virtual non-space, but also a situation thanks to which people from many different countries were able to work simultaneously.

Assuming this complex situation, more than 20 participants per session created new pieces –some in exercise format–, took up projects that they had already worked on in the past or collectively set out to create new projects that will continue to develop beyond the scope of our meetings.

Taking these refuge and nest issues also in their complexity, we asked ourselves questions that made each of the participants involve their personal experiences, memory, memories and experiences from each of their territories. We addressed questions that sought to keep us in constant movement; at times we went through very optimistic or pessimistic visions about the possibility or necessity of having a shelter or a nest, and at other times, we were able to articulate more complex visions, enduring in intermediate and liminal states. For both, we took as a theoretical structure of support and dialogue the thought of Félix Guattari presented in The Three Ecologies (1989). His ethical-political approach that highlights the molecular domains of sensitivity, intelligence and desire, as well as his articulation of the three ecological registers (environment, social relations and human subjectivity), helped us to expand our creations and thoughts in relation to shelter and nest.

During the first session, when asked about the conditions that a refuge can have and the conditions that we would like a refuge to have, the artists (coincidentally and by chance, we had a cohort one hundred percent comprised of women) generated sculptural pieces, artists’ books, photographs, videos, dance pieces and more, reflecting on the permeability or isolation structures that a shelter can have. Also, many artists started from their bodily memories to refer to the refuge and made improvisation and performance pieces. We created in relation to the refuge conditions presented by nature and the refuges that we create to protect ourselves from certain natural conditions. Memory as a refuge and shelters for memory also arose through textile practices or from the use of jewelry or objects with which we build links. Finally, the bonds and the community as spaces that shelter and spaces that imply care was another of the axes that we explored through pieces that included readings of texts and sound activations.

Together Apart has functioned as a program that opened up possibilities for meeting and collaborative creation. It has made possible the creation of new rhythms and synchronies for a limited time but whose reverberations and echoes continue to affect in unexpected directions.

Daniela Ruiz Moreno (curator-in-residency)

Artist-in-Residence International Program

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International Airport

Ministro Pistarini- Ezeiza (EZE)
Buenos Aires
45' to 60' trip

Domestic Airport

Aeroparque Jorge Newbery
Buenos Aires


38, 39, 41, 42, 59, 63, 65, 67, 68, 151, 152, 161, 184, 194 and 168 (stop in the front door)


D Line (Green)
Olleros Station (4 blocks, 4')


Mitre Line (either to Leon Suarez or Mitre)
Colegiales Station (1 block, 1')

The Latin America's Paris

Buenos Aires is Argentine Republic's capital city. With 15,000,000 inhabitants, it is one of the largest cities in Latin America and one of the 10 most populous urban centers in the world. Its cosmopolitan and urban character vibrates to the rhythm of a great cultural offer that includes monuments, churches, museums, art galleries, opera, music and theaters; squares, parks and gardens with old groves; characteristic neighborhoods; large shopping centers and fairs. Here we also find a very good lodging facilities, with accommodation ranging from hostels to five-star hotels of the main international chains. Buenos Aires also show off about its variety of restaurants with all the cuisines of the world, as well as to have cafes and flower kiosks on every corner.

A neighborhood founded on the Jesuit farms in the 17th century

We are located in Colegiales neighborhood where the tree-lined streets, some of which still have their original cobblestones, invite you to walk. Although the apartment buildings advance, low houses still predominate. It is a district of the city where about 20 TV production companies, design studios, artist workshops and the Rock&Pop radio have been located. The neighborhood also has six squares, one of which pays homage to Mafalda, the Flea Market, shops, restaurants and cafes like its neighboring Barrios de Palermo and Belgrano, with which it limits.

Artist-in-Residence International Program

2024 Open Call #3
Residencies 2024

July 31st, 2024

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