Already in Vanitas Trilogy (2020-2023), the question of the future, conceived as a temporality not far away and deeply rooted in the present, was beginning to take shape.

In Vanitas Mars, for example, we saw a different way of travelling to the Red Planet, far removed from the workers dreamt up by the high-tech industry.

In this new research, 2050, the future is very close, almost present, but future nonetheless.

Strategies multiply to travel through time patiently, collectively, leaving room for both despair and dreams. This research sets in motion a transdisciplinary crossover. We conducted interviews to collect the idea of the future in different social circles. The interview as audiovisual material allows us to foreground the spectator. This interweaving of voices connects anthropological, psychological and social planes.

The work begins with a video projection:

"In this work there are no interpreters. Bahh yes, you are the interpreter".

The spectators become the axis of the work, they inhabit the stage space and generate movement from their own connection with time, responding to the questions posed by the video in relation to important dates in their own lives and other common dates that surround us collectively and moving in space as a way of feeling, corporeally, the category of time.

All the movements generated in this work allow us to create bridges to imagine 2050. Leslie Cassagne and Agustina Sario draw creatures that travel through time as a way of connecting layers of history and opening an oracle towards 2050 together with the spectators.

This research proposes a creative futurity that starts from what today, from our bodies, we can feel, choose and imagine.