A blog by Molly Field

Argentinian choreographer Amparo González Sola’s newest piece If Every Rock is a Hole does not shy away from its quietly-deafening potential. Inviting the audience to sit with her in contemplative silence, González Sola explores the bright, white space through a series of gestures, unsettling sequences and seemingly impossible poses. Meditative in practice, the artist stretches, writhing, towards the overhead lights. She is reminiscent of nature, reaching towards the sun for warmth, grounding and visibility. 

As part of a larger project on reciprocity, González Sola locates her piece within discussions questioning colonial and patriarchal thought. I was particularly struck by ideas of voyeurism and female performativity as we, the audience, allowed (and even, willed) González to stretch herself into unnatural shapes for us, all contorted limbs and flexed feet. Shapes that, with desperate exertion, left the artist shaking and avoiding the surrounding eyes. As if privy to her own gender performance, González Sola would often join the audience, sitting amongst the cushions and voyeurs, contemplating.

The performance ended with darkness; liquid ink dripping from González Sola’s pores. The words she did not say but implored us to hear, rendering herself both active and passive, both object and subject, both strong and fragile. 

If Every Rock is a Hole is currently undergoing its Dutch premiere at Theater Kikker, Utrecht, as part of the ongoing, performing arts programme of the 2022 SPRING Festival. To learn more about Gonzalez Sola’s politically-poetic piece, read our interview with the artist here as well as having a browse of the rest of SPRING’s agenda here.