“For me, there isn´t a before or after in flamenco, only moments. I believe that flamenco will continue to have its own time insofar as it continues to exist as a living art.”

“Más Allá del Tiempo” is a minimal piece, without a story line; just flamenco singing, guitar, and dance, although memories slip in from my youth, my family and from the traditions of Seville. Old, classic styles have been recollected which were in disuse, and I´ve given them a modern, more musical touch. There are, for example, musical elements from the time when my parents worked in the company of Juan Valderrama: malagueñas, fandangos of Pérez de Guzmán, of Gloria, and Pastora´s tangos. I have chosen saetas y peteneras in honor of my mother who often sang these styles in her repertory. Petenera is a beautiful style that hardly anyone dances. My intention is to look for the sense of beauty in things and not for the effects of force. Force should be interior.”

Source : Andrés Marín, Sevilla, January de 2002

Andrés Marín is one of the most singular dancers of  the current flamenco scene. His productions have focused on the flamenco  tradition and specifically on the classical songs, but not from a  conventional perspective, but through a very personal style and an  aesthetic of absolute contemporaneity. Choreographer, artistic and  musical director of his own company, his creations reflect the  expressive freedom of a deep artistic research. From there is born a  poetics rich in suggestive images, at the service of his commitment to  art and to himself. He is currently one of the great renovators of the  genre.

Andrés Marín was born in Seville in 1969. The son  of flamenco artists, he has lived the art since he was a child, both  through dancing at his father's school, as well as singing, of which he  is a great fan and profound connoisseur. If there is a trait that  defines his career, it would be that of independence and non-attachment  to any company or school beyond his father's teaching. Self-taught and  unclassifiable, he began his professional career in 1992 as a soloist  and choreographer for different shows and events until he founded his  own company in 2002.

In all of Andrés Marín's works,  experimentation and risk reign, elements that the artist considers  essential for flamenco art to stay alive: Más allá del tiempo (2002), Asimetrías (2004), El alba del último día (2006), Vanguardia Jonda (2006), El cielo de tu boca (2008), La pasión según se mire (2010), Op.24 (2011), Tuétano (2012), Ad Libitum (2014), Yatra (2015), Carta Blanca (2015), D.Quixote (2017), La Vigilia Perfecta (2020) and Éxtasis Ravel  (2021). His creations have been welcomed by the main European circuits,  both in the flamenco genre and contemporary dance among which are the  Maison de la Danse de Lyon, the Teatros del Canal de Madrid, the Théâtre  National de Chaillot in Paris, Sadler's Wells in London, the Biennale  de Flamenco in Seville, Montpellier Danse, the Musée National  Picasso-Paris, the Opera de Lille, the Lucent DansTheater in The Hague,  the National Opera of Latvia, the Théâtre de la Ville de Paris, the MC2:  Grenoble, Festival de Danse de Cannes, the Biennale d'Art Flamenco de  Paris, the Festival de Nîmes, the Festival de Jerez, Flamenco Viene del  Sur, the Sala Pleyel in Paris, the Festival ¡Mira! Festival and the  Mercat de les Flors in Barcelona.

A restless artist, always in search of new ways to submerge the  flamenco tradition in uncharted waters, Andrés Marín has collaborated  with artists from various disciplines throughout his career in the  conviction that flamenco can dialogue without complexes with other arts:
Pilar Albarracín, visual artist. Action for video "Bailaré sobre tu tumba" (2004).
Blanca Li, choreographer. "Poeta en Nueva York"  (2007-2008) Nominated for the Max Awards for Best Male Dance Performance  for his role as Lorca.
Llorenç Barber, experimental composer (bells). "E"l Cielo de tu Boca" (2008-2011).
Bartabas, director of the equestrian and musical theater Zíngaro. "Golgota" (2013-2016).
Kader Attou, hip-hop dancer and director of the  National Choreographic Center of La Rochelle (CCN). "Rencontres" (2014)  and "Yatra" (2015-2018).
Ensemble Divana, musicians from Rajasthan. World Sacred Spirit Festival 2016, Jodpur (India).
Laurent Berger, playwright and director of contemporary theater. "D.Quixote" (2017-2019).
Marie-Agnés Gillot, dancer Étoile. Christian Rizzo, choreographer, audiovisual artist. "Magma" (2019-2021).
José Miguel Pereñíguez, visual artist. "La Vigilia Perfecta" (2020), "Éxtasis Ravel" (2021)
Jon Maya, Basque dantzari. "Yarin" (2022)

The  artist combines his choreographic and artistic activity with the  direction of Andrés Marín Flamenco Abierto, a production office and his  own dance studio based in Seville.

Source and more information: https://www.andresmarin.es/en/

Author, filmmaker and video artist Charles Picq (1952-2012) entered working life in the 70s through theatre and photography. A- fter resuming his studies (Maîtrise de Linguistique - Lyon ii, Maîtrise des sciences et Techniques de la Communication - grenoble iii), he then focused on video, first in the field of fine arts at the espace Lyonnais d'art Contemporain (ELAC) and with the group « Frigo », and then in dance.
   On creation of the Maison de la Danse in Lyon in 1980, he was asked to undertake a video documentation project that he has continued ever since. During the ‘80s, a decade marked in France by the explosion of contemporary dance and the development of video, he met numerous artists such as andy Degroat, Dominique Bagouet, Carolyn Carlson, régine Chopinot, susanne Linke, Joëlle Bouvier and regis Obadia, Michel Kelemenis. He worked in the creative field with installations and on-stage video, as well as in television with recorded shows, entertainment and documentaries.

His work with Dominique Bagouet (80-90) was a unique encounter. He documents his creativity, assisting with Le Crawl de Lucien and co-directing with his films Tant Mieux, Tant Mieux and 10 anges. in the 90s he became director of video development for the Maison de la Danse and worked, with the support of guy Darmet and his team, in the growing space of theatre video through several initiatives:
       - He founded a video library of dance films with free public access. This was a first for France. Continuing the video documentation of theatre performances, he organised their management and storage.
       - He promoted the creation of a video-bar and projection room, both dedicated to welcoming school pupils.
       - He started «présentations de saisons» in pictures.
       - He oversaw the DVD publication of Le tour du monde en 80 danses, a pocket video library produced by the Maison de la Danse for the educational sector.

       - He launched the series “scènes d'écran” for television and online. He undertook the video library's digital conversion and created Numeridanse.

His main documentaries are: enchaînement, Planète Bagouet, Montpellier le saut de l'ange, Carolyn Carlson, a woman of many faces, grand ecart, Mama africa, C'est pas facile, Lyon, le pas de deux d'une ville, Le Défilé, Un rêve de cirque.

He has also produced theatre films: Song, Vu d'ici (Carolyn Carlson), Tant Mieux, Tant Mieux, 10 anges, Necesito and So schnell, (Dominique Bagouet), Im bade wannen, Flut and Wandelung (Susanne Linke), Le Cabaret Latin (Karine Saporta), La danse du temps (Régine Chopinot), Nuit Blanche (Abou Lagraa), Le Témoin (Claude Brumachon), Corps est graphique (Käfig), Seule et WMD (Françoise et Dominique Dupuy), La Veillée des abysses (James Thiérrée), Agwa (Mourad Merzouki), Fuenteovejuna (Antonio Gades), Blue Lady revistied (Carolyn Carlson).

Source: Maison de la Danse de Lyon