Silvia Zayas (León, 1978). I work at the limits of live arts, film, and expanded choreography. I investigate ways of displacing filmic language to different performative devices, working with different modes of perception and attention. A cinema that comes to assault you through ghosts, holes, and exclusions, impossible and low-tech instruments, underwater experiences, explosions, the infantile, and the disobedience of memory, strange imaginaries of traces that were historical and all that we cannot yet reach to know. 

I recently finished my doctoral thesis Contradispositivos entre el cine y las artes escénicas: fantasmas, difracciones, agujeros y otras criaturas in the Faculty of Fine Arts, University of Castilla-La Mancha, under the supervision of Aurora Fernández Polanco and Esperanza Collado.

The artistic fact as shared and long-term research processes such as Jumping Scales (2017-2018) or the project ruido ê has kept me busy over the last years. I also collaborate with Catsharks, the marine biologist Claudio Barría, the bioacoustician Michel André, and with artists such as Clara Piazuelo, Susana Jiménez Carmona, Mar Medina, and Cris Blanco, among others. 

Other works include the live film São Tomé Revisitado, 2012, in collaboration with my mother Isabel Serra; Parallax, 2016, a scenic piece for light and sound; the films The Boogie-Woogie Ghost, 2018, and Puebla, 2021, together with María Jerez; Talking pictures-a talking film, 2018 with Esperanza Collado; the “cinema without film” projects Brilliant Corners, 2020, and Brilliant, 2020-2022, both created within the collective Orquestina de Pigmeos; or the solo exhibition “ê,” 2021) at espacio 0 in Matadero-Madrid. 

I belong to the collective office of production and research in live arts Dorothy Michaels, and I have also worked and learned in collaboration with the physicist Óscar Hernández, and the artists Alejandra Pombo, Carme Torrent, Rebecca Collins, Sofía Asencio, Chus Domínguez, and Nilo Gallego, among others.