The Experimentation Center of the Teatro Colón becomes a search territory again with the arrival of “My overwhelming situation”, the new work by Diana Szeinblumone of the most unique creators of the Argentine contemporary scene. After six sold-out performances at Fundación Cazadores in 2025, he now returns with a proposal that expands his research on physical memory, affective genealogies and the way in which primary links are inscribed in the body. The premiere will be on Thursday, April 9 at 8:30 p.m., with a series of performances that will last until the 18th of the same month.
The piece is built on a gesture as simple as it is radical, making immediate family members dance. A father and a daughter, a mother and her son, a woman with her children, a dancer with his mother. That minimal series of pronouns, “my daughter and I, my mother and I, my children, my brother and I, my father and I,” acts as a poetic trigger and as an internal structure. It is in that physical, direct and unmediated encounter where the choreography reveals layers of memory, care and transformation. Szeinblum insists that the work “attempts to bring bodies together, not relationships,” a statement that encapsulates the project’s central impulse: to return to what precedes language and interpretation, to allow physicality to reclaim territory that adult life often erodes.
Trained at the Tanztheater in Amsterdam and influenced by the European tradition of postdramatic dance, Szeinblum has developed a work that combines conceptual rigor and sensitive materiality. In recent interviews, the creator highlights her interest in working with what persists in bodies beyond family narratives, those traces that remain even when words are no longer enough. This search becomes even more evident in “My overwhelming situation”where each duo embodies a small domestic utopia: the possibility of restoring an original contact, of recovering the inseparable that time made fragile, or distant.
The proposal thus becomes an intimate journey towards other possible futures. In a present where cruelty seems to be naturalized as a system, the work takes refuge in the knowledge of care and the power of emotional affiliations. Far from sentimentality, the piece observes these links with an almost archaeological seriousness, as if each movement were a discovery in overlapping layers of bodily history.
The cast brings together duos that already in their formation announce small family novels: Rodolfo Opazo with Quío Garat Opazo and Vera Garat; Rafael and Lorenzo Nir with Szeinblum herself; Hernán Franco with Roxana; Natalia and Luis Tencer. The live music of Macarena Aguilar Tau (MAQ) sustains the atmosphere of the work with a sound design that dialogues in real time with the bodies. Julia Sbriller’s spatial device and Adrián Grimozzi’s lights build a scenario where intimacy becomes visible without losing its delicacy. Jazmín Tesone provides the photographic gaze that captures that vibration between the familiar and the performative.
The performances will take place on April 10, 11, 12, 15, 16, 17 and 18, with tickets available online and in person, and with special discounts for retirees. The arrival of this work at the Colón confirms not only the recognition of a trajectory that spans more than three decades, but also the CETC’s commitment to hosting projects that destabilize what is established and expand the scenic language towards territories where the personal becomes political and the intimate resonates as a collective gesture.
