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(Mexico, 1973)

Contemporary dance choreographer and dancer. She was born in Ensenada, Baja California, lived her early childhood in College Station, Texas, USA, and grew up in Mexico City, where she trained in classical and contemporary dance at the Seminarios del Taller Coreográfico de la Universidad Nacional Autónoma de México (UNAM) and at the Conservatorio de Danza, under the tutelage of Guillermo Maldonado. Graduated from the BA Degree in Choreography of the Escuela Nacional de Danza Clásica y Contemporánea (ENDCC) of the Centro Nacional de las Artes, having as teachers Cecilia Appleton, Pilar Urreta, Cecilia Lugo, Joaquín López Chapman, Jaime Soriano, César Pérez-Soto, Javier Contreras, Carlos Ocampo and Sonia Fernández Moliner, among others. She emigrated to Udine, Italy, where she currently lives and works, continuing to develop her artistic career.

For her choreographic works, she elaborates social themes, emphasizing their impact on the individual. Her style is based on dance-theater, includes elements of ritual dances and achieves a neo-baroque conceptual dance, combined with video art and performance art. She normally develops complex narrative dramaturgies, juxtaposing layers of the various languages that make up the scenic phenomenon. Her dance movement investigates the symbolic forms of the human body in relation to emotional contents. Multimedia technology is a tool that has aesthetically defined her work and has allowed her to expand her imagination on stage, aiming to generate perceptions of parallel real worlds.

As an independent choreographer, she has signed ten personal productions, subsidized mainly by various programs of the Fondo Nacional para la Cultura y las Artes (FONCA) and by the Programa de la Cooperación Iberoamericana para las Artes Escénicas (IBERESCENA), through the Ayudas para la Creación Coreográfica en Residencia.

At the beginning of her career, she founded and directed Movimiento Perpetuo, a dance-theater group with which she made her debut at the XIX Premio INBA-UAM with La habitación donde fui llevada (1998). She won the Primer Premio de la Crítica "Raúl Flores Guerrero" with Adam's Street (1999), on the occasion of the XX Premio INBA-UAM and with Café: bebida exótica (2000), she won the XXI Premio INBA-UAM Categoria B. With these, forms Madame Cuquita's Show (2000), her first professional program. She then produced the work Zoo (2001), a project subsidized by FONCA-Programa Jóvenes Creadores. She also coordinates and performs the choreographic project Bestiario Extremo (2001), co-produced by the Festival del Centro Histórico and the Festival Jóvenes del Tercer Milenio. The main collaborators in this period are Ángela Rodríguez, Cecilia Camino, Mario Oliver, Octavio Michel, Yuriria del Valle, Adolfo Flores, Omar Sánchez, Lydia Margules and José Antonio Cordero on stage and Xóchitl González in lighting design.

In the following years, she produced five solo shows, three performed by herself: Emoción Plástica (2002), with a grant from the FONCA-Intercambio Internacional de Residencias Artísticas Mexico-Canada, held at The Banff Center (Canada). Ulyses (2003), performed by Andrés Weiss, a work commissioned and produced by the Coordinación Nacional de Danza (CND) of the Instituto Nacional de Bellas Artes (INBA) on the occasion of the National Tribute to Xavier Villaurrutia (Mexico). Sin Título (2006), subsidized by FONCA-Programa Jóvenes Creadores and FONCA-Fomento a Producción y Coinversiones Culturales, in addition to the support of the Centro Cultural Helénico (Mexico). Mi cuerpo es mi casa (2011), supported by FONCA-Sistema Nacional de Creadores de Arte, IBERESCENA Mexico-Spain and TEC-ART-ECO Italy-Switzerland, held during a creation residency at La Nave del Duende, Cáceres (Spain) and two for production at Leggére Strutture Factory Bologna (Italy) and Lifework Ispra (Italy). Una tribu, eso es lo que soy (2012), with the original dramaturgy by Jan Fabre, performed by Lorena Glinz, a project supported by FONCA-Sistema Nacional de Creadores de Arte, created and produced at the Centro Universitario de Teatro de la UNAM of the Centro Cultural Universitario (Mexico).

Subsequently, she created the quintet Transmutation (2014), performed by Luisa Amprimo, Maria Augusta Chizzola, Giovanni Leonarduzzi, Marco Plielich and Jessica Vidusso, supported by FONCA-Sistema Nacional de Creadores de Arte, in residence at Lo Studio of the Arearea dance company from Udine (Italy). And the duet Hombre mujer, arbol hijo libro (2014), dancing with Antonio Quiles, subsidized by IBERESCENA Mexico-Spain and Mestzna Obcina Maribor (Slovenia), created and produced in residence at the Plesna Izba Maribor (Slovenia).

Currently, she is concentrating on the development of the series Stereo Tipo Cosmo Politan, of which she has produced the first of four solos, Stereo Tipo Cosmo Politan: Fashion Model (2018), performed by Luisa Amplimo. For the second solo, Stereo Tipo Cosmo Politan: Celebrity (2020), she has done a creative residency at the Atlantic Center for the Arts (ACA) in New Smyrna Beach, Florida (USA), during the #176 Master Artists-in-Residency Program.

For these projects, she has also had the collaboration of musicians Ricardo Cortés, Rogelio Sosa and Gabriel Acevedo; the video artists Nuria Prieto and Ana Pecar; of the light designers Rosalba García and Daniela Bestetti; by the photographers Dante Busquets and Alessandro Rizzi; and, by the videographers Fernando Llanos and Teresa Terranova.

Her work has been presented in a large number of individual and collective seasons in the main forums of Mexico City, such as Teatro del Palacio de Bellas Artes, Teatro de la Danza, Sala Miguel Covarrubias, Teatro Helénico, Teatro Santa Catarina, Teatro Raúl Flores Canelo, Salón de Danza de la UNAM, Foro Experimental de la ENDCC, Foro Shakespeare, Foro La Gruta, El Foro Teatro Contemporáneo, los Talleres de Coyoacán, Palacio de los Deportes, Plaza de la Constitución Zócalo, among others, thank to the sponsorship of institutions such as Consejo Nacional para la Cultura y las Artes, Coordinación Nacional de Danza del Instituto Nacional de Bellas Artes, Dirección de Danza de la Universidad Nacional Autónoma de México, Centro Nacional de las Artes, Instituto de Cultura de la Ciudad de México and Centro Cultural Helénico.

In Mexico, she has toured in cities such as Aguascalientes, Cuernavaca, Guadalajara, Monterrey, Oaxaca, Puebla, San Luis Potosí, Tlaxcala, Tuxtla Gutiérrez, Veracruz, Xalapa and Veracruz, among others, highlighting her participation in the XXI Festival Internacional de Danza “Lila López”, XVI Festival del Centro Histórico de la Ciudad de México, Festival Jóvenes del Tercer Milenio, II Festival Vive Latino, V Muestra Internacional de Danza de Oaxaca and Rancho 2y2.

Internationally, it has been presented at: International Student Festival in Trondheim ISFiT-01 (Norway), V Encuentro de Coreógrafos Contemporáneos (Dominican Republic), Teatro Anita Villalaz (Panama), Mali Oder of the Slovenian National Theater of Maribor (Slovenia), Plataforma Latinescénica in Brussels (Belgium), “Unfinished Fridays vol. 39” Lake Studios Berlin (Germany) and INsideOUT of the Atlantic Center for the Arts (USA).

In Italy, its participations stand out in the II NAO Performing Festival of Milan, in "The Marathon of the Unexpected" of the VIII Biennale Danza di Venezia, in the Piattaforma BPFORM in Rome and in Udine, V Off Label, Teatro San Giorgio and in the II and IV emissions of the Festival Art tal Ort.

Two television programs have been dedicated to her artistic career: for DanzaNet TV Perfiles en Acción: charla con Pilar Gallegos (2019) on a digital platform and as part of the series ARTE X Pilar Gallegos, el juego de las casualidades (2004), broadcast by on Canal 11. Also a spot included in the series La edad de merecer, co-produced by TV UNAM and ILCE, broadcast on Canal 22.

As a guest choreographer, she has collaborated in Mexico with the companies Veradanza from Xalapa and Teoría de Gravidad from Monterrey. She also staged Sala de hule espuma (2002) for dancers graduated from the ENDCC supported by the PADID-CENART program, who participated in the gala season “Dibujos de otros mundos” of the CND of the INBA. And she created the choreography Después de la Ira (2005) for the students of the Facultad de Danza of the Universidad de las Américas (UDLA), campus Cholula. In Italy she creates the brief solo The Vagabond (2009) for the “Galà della Broadway Dance Studio” at the Teatro Nuovo Giovanni da Udine, also participating in “Libera!” at Lo Studio de Arearea.

She has collaborated as a choreographer for the theatrical productions Croll, Casa de Muñecas, Instrucciones para volar and Cabaret Museo Deseo directed by José Antonio Cordero; for El Motel de los Destinos Cruzados, written and directed by Luis Mario Moncada; Libros para cocinar and Las ocupaciones nocturnas directed by Ignacio Escárcega; for El Carro de Comedias directed by Alonso Ruizpalacios; La noche en que raptaron a Epifania for the Festival del Centro Histórico and Titus Andrónicus for the Festival Internacional Cervantino, both directed by Ana Francis Mor, and for the latter she received the Premio como Mejor Coreografía para Teatro from the Asociación de Periodistas Teatrales (2003 ). As a choreographer for the Espiral concert of the rock group Santa Sabina. She did the choreography for the video clip Metrosexual of the singer Amandititita (Sony Music), directed by Artemio Narro. She was a choreographic consultant for the feature film La Sangre Iluminada, directed by Iván Ávila (FOPROCINE). As choreography assistant for opera in La Traviata, directed by Lorena Glinz for the INBA National Opera Company. In Italy, she works as a choreography assistant for Virgilio Sieni's Fuga Pasolini_Ballo 1922, produced by the CSS Teatro Stabile di Innovazione del FVG.

As a dancer in Mexico, she has worked for the companies Quiatora Monorriel, Producciones la Manga, Utopía, Fuera de Centro, Pilar Urreta, Opus Nigrum, Nuevos Pasos and Compañía Nacional de Danza of INBA, dancing to choreographies by Evoé Sotelo, Benito González, Gabriela Medina, Marco Antonio Silva, Alberto de León, Pilar Urreta, Manuel Stephens, Oscar Ruvalcaba, Isabel Romero and Guillermo Maldonado, among others, obtaining with the choreography Momentos en Amor created by the latter, the Premio como Mejor Bailarina de Contemporáneo at the Virginia Fábregas Contest (1993). In Italy, she participates in Virgilio Sieni's Angelo che ne va, produced by the FVG's CSS Teatro Stabile di Innovazione.

She has been a teacher at the ENDCC, the UDLA Faculty of Theater and El Foro Teatro Contemporáneo. She has taught various choreography workshops in Mexico and abroad. It has also collaborated as a curator advisor for the Festival del Centro Histórico. She has participated in performances, video art, short films, video clips and advertising. She was a keyboardist for the rock-pop band Aurora y la Academia (Polygram), having national presentations in various places and stadiums, highlighting the participation in the Festival Vive Latino, and abroad in The House of Blues in Chicago, USA and in Lima, Peru.

In Mexico, she has deepened her choreographic studies by taking diplomas, workshops and master classes in performing arts, such as “Andamios en la Coreografía” and “Retiro para las Artes Escénicas”, with renowned national teachers such as Guillermina Bravo, Michel Descombey, Lydia Romero, Adriana Castaños, Pilar Medina, Marco Antonio Silva, Gerardo Delgado, Saúl Maya, Luis de Tavira, Ludwik Margules and Alejandro Luna, and internationals such as Jim May, Barbara Dilley, Mark Sieczkarek, Randy Duncan and Eugenio Barba. She received a scholarship from the academic program of the XXVII Festival Internacional “Lila López” in San Luis Potosí, attending workshops with Cuauhtémoc Nájera, Francisco Illescas, Tito Vasconcelos and Carlos Iturrioz.

In Italy, fellow of the interdisciplinary pedagogical triennial program Tec-Art-Eco, promoted by the Ariella Vidach-AiEP multimedia dance company in Milan, taking classes with Iñaki Azpillaga, Ted Stoffer, Claudio Prati, Federico Lupica, Paolo Solcia, and conferences with Marcelí Antunez and Stelarc. She has followed seminars and master classes with Carolyn Carlson, Emio Greco, Simona Bertozzi, Ariella Vidach and Iztok Kovac, among others. In Austria, she participated in a Coaching Project with Maguy Marin during the XXVI Impulstanz Festival in Vienna and in the USA, she had Annie-B Parson as a tutor for the # 176 Master Artists-in-Residency Program of the ACA.

She has complemented her artistic education with diplomas and workshops in therapeutic dance, hatha yoga, contemporary dance, ballet, jazz, body awareness, theater direction, vocals, singing, piano, French, German, Italian and English.


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Choreography: PILAR GALLEGOS
Videoprojection: NURIA PRIETO


It's been a while since I started to get the impression that people repeatedly shown in current magazines have become today's replacement of the ancient Greek-Roman gods. Initially classical mythology, through the stories of gods and demigods, offered people values for human and spiritual transcendence. Myths were intended to inspire and instill values in people, as well as to preserve the common good.

Over the centuries and the evolution of customs, the myths have acquired different and varied nuances. From real characters who perform heroic gestures in extreme situations, to contemporary fantasy characters - superheroes, mainly of American origin -; all have in some way filled the collective divide in the psyche of popular culture, as mythology did in its time. Despite the improbability of their origin and the course of their adventures, these gods or heroes reflect the highest aspirations of a society and at the same time, ambiguous feelings towards them.

Although Christianity is apparently the strongest religion established in the West for more than two thousand years, we Christians continue to believe collectively in the pagan gods. Mars and Venus, war and beauty, are still today fundamental parameters for the course of our existence, and not the same as loving one another, as the son of our God preached.

The high-impact publications worldwide, themass media, have a very important impact on our lives through the dissemination of news in the press, television, radio, internet, magazines and other media. They find their success proposing, propagating and preserving these new pagan cults. Through the exploitation and worship of characters ranging from the sublime to the abominable, there is a continuous contrast of these groups that are constantly opposed in the tabloids.


Is a research focused on the female stereotypes promoted in the media. My thesis aims to unveil the emotional behavior bound to the body language of the fashion model: the type of values it transmits, the ideology that spreads, the models of human and spiritual transcendence that it distributes. For my research, I have chosen as the object of study the Italian March 2017 edition of the journal Cosmopolitan, one of the most widely distributed publications in the world.

The working method was centered on the reconstruction of human poses found in this edition, which collects around two hundred thirty images, reproduced in a sequence performed live by a dancer. I wanted to investigate in her the emotions that arose spontaneously from this body language. As woman, I do not identify myself with this image that the mass media propose to today's society. I have deliberately compared the fashion model with the mythological Venus, the Roman goddess of beauty, love and fertility, of a capricious, vain and volitional character. The goddess of women who protects marriages, and is also venerated by sacred prostitutes of the time.




Choreography: PILAR GALLEGOS
Videoprojection: ANA PECAR
Photographies of the Performance: LUCA MICHELUTTI

To create. The action of creating. The creative act. A couple begets a child waiting for a new life that brings illusions, fantasies, fears and conflicts, interspersed with moments of joy. To write. Writing to your own child a book, or read it to him. To cultivate plants, trees, ideas, dreams. To cultivate children.

HOMBRE MUJER, ÁRBOL HIJO LIBRO (MAN WOMAN, TREE CHILD BOOK) born of a popular proverb in the Hispanic world, which says: "A man, to be complete, must plant a tree, have a child and write a book". Often attributed to Cuban poet Jose Marti, this thought is actually an adaptation of a prophetic story of Muhammad, the messenger of Islam, which manifest: "In this life you have to do three things: write a book, plant a tree and have a child". Explains: "The reward for all work done by the human being, ends when he dies, but three things: a continuous alms - for example the tree, protector of shade and fruit giver- , sageness or beneficial knowledge and a pious son who prays for him when he dies". Teaching is related to the belief of Judgment Day, a religious vision of the end of the world in which the final destination of each for eternity is decided.

Our world is changing rapidly, forecasts are pessimistic, nature is in frank devastation and 2070 worrying shortages are anticipated. It is important to be aware that our generation is not the only culprit of all this catastrophe. The current lifestyle is a result of the Industrial Revolution, which began in Europe during the second half of the eighteenth century and has been spread virtually all countries.

This choreographic work aims at fostering human awareness towards nature, promote the development of a better relationship with the planet, bringing new ideas to solve problems, join the many currents of thought from sources of knowledge diverse that today coincide the relevance of this approach. This would entail understand that we can minimize our need for material consumption. The highest spiritual thoughts further demonstrate that true peace is a modest and austere life, the source of wealth and happiness arise from compassion and love. The human being is by nature social and active contributor, developer and sometimes receiver. It carries out actions to live, contribute and collaborate. This means promoting thinking styles.

Planting a tree, having a child and writing a book. The three actions speak of how plant and harvest seeds, values, feelings, a succession of events that lead growth. Forms of civilizational transformation. Examples of footprints that humans leave a legacy for generations to come. There are plenty of ways to trace, everyone can decide themselves.

Trees, children or books are not only fulfilled objectives, may also be the beginning of a new way of inhabiting the Earth.


This project has been possible thanks to financial support of the Fund for the Iberoamerican Performing Arts IBERESCENA (Spain-Mexico) in the call for Choreographic Creation Processes in Residence (2013-2014). In residence of creation and production at centre Plesna Izba Maribor (Slovenia).




Choreography: PILAR GALLEGOS
Musical Editing: RICARDO CORTÉS
Photographies of the Performance: LUCA MICHELUTTI

The history of men is defined by the constant search for something deeper in life. In addition to seeking the survival of the physical body through providing food, shelter and clothing, since the primitive to the present day, there has been always the desire to look into the depths of the soul, trying to understand the purpose that have over our existences. This instinct, primal impulse, it gives us still the chance to evolve as a civilization.

Transmutation is the constant transformation of a chemical element into another simple body. This dance project proposes to perceive the human in this way, as an element-entity that is continuously converted into another, in the other, in itself once again transformed.

The human experience understood as one, that simply modifies and travels in the same way in each of us. Verifies in essence, that all beings we experience the same vibrations, sensations, excitement, stimulation and excitement. Humanity is in a constant change, our bodies are a laboratory of mutation, constantly transmuting.


This project has been possible thanks to the support of the National Fund for Culture and the Arts FONCA (Mexico), through the National System of Creators of Art (2010-2013) and the dance company Arearea (Italy), in residence of creation and production at its headquarters Lo Studio.




Dramaturgy: JAN FABRE
Choreography and Direction: PILAR GALLEGOS
Photography: ANDREA LÓPEZ
Translation in Spanish: MARIETTA SANTI

UNA TRIBU, ESO ES LO QUE SOY (A TRIBE, THAT'S WHAT I AM) one-person dance-theater piece inspired by the life and work of Antonin Artaud.

The work is the manifest of a spirit who commute in different entities and that blasphemy against God and the world. A body, a laboratory of chemical transmutations coated with skin, in the research to make sense and a way out to his thoughts, visions and premonitions.

The character undergoes a series of metamorphoses concatenated: from psychiatric patient in old dog, a shaman in tragic actor, a white indian in prophet, in sage, priest, and finally soul. The tone is excessive and often painful, but succumbs into a luminous end that spreads faith towards the future.

In Fabre's work the body is a vehicle for transmitting discourses, experimental subject of life, death, initiation. Animality coexists with reason, in a constant search for complementarity and mutual analysis.

A tribe,
that's what I am.
That strange "I", which no civilization
has never been able to contain.

I will not dwell
layer by layer
peeling the skin of my soul
until all that remains is the spherical ossification
of a single thought.

Together we have
the dream of a mentally petrification.
A thought that can be deployed against itself.
One problem.
One sphere.
One globe.
One celestial body.
One protruding mass.
One spherical ossification for show restraint.
To find other sources
and contact
with a new reality.
Allow encounters
of a more subtle and more rare nature.
Dating to heal the wounds in our hearts
caused by the wars in our mind.

The revolution will be mental or may not be.


This project was made possible by the support of Fondo Nacional para la Cultura y las Artes FONCA through the Sistema Nacional de Creadores de Arte and to the Universidad Nacional Autónoma de México UNAM through the Centro Universitario de Teatro and Departamento de Difución Cultural. Special thanks to Jan Fabre and Miet Martens in Belgium, to Marietta Santi in Chile and to Mario Espinosa Ricalde in Mexico.



Choreography and Performance: PILAR GALLEGOS
Interactivity and Multimedia: NURIA PRIETO
Light Disign: DAVID PÉREZ
Photographies of the Performance: LUCA MICHELUTTI

On a field of roads, rivers and houses, three days ago we were hitted by an earthquake. Now we are ruins, spare parts of wall: amorphous stones in a warm spring afternoon. I have no choice but to dwell in silence and think about the plan to redraw everything again, this time improving the shelter: protect me from rain, sun, soil moisture and wind, because against earthquakes I can't do anything! Floors, steps, walls and visions. Which will be my direction? What color paint the outside of my skin? Windows should be put into the pores, uncovering new senses. Words: keys to open another doors in the room of the heart. Corridors with floors of blood and adrenaline. I will also build a bridge towards the rooms from the entrance of the internal garden. Slowly, I am working for making livable this home: my own body.

                                                                                    Pilar Gallegos

The body, territory we inhabit: unique belonging. Site of all lived experiences, accumulated memory container. History and heritage. Vehicle. Individual, culture and home.

MI CUERPO ES MI CASA (My body is my home) is a solo choreographical piece. It is a dance with the juxtaposition of dance, video and narrative poetry, that explores and constructs analogies, metaphors and derivations between the human body and architecture, between humans and their environment.

The choreography is divided into three scenes: Human Columns, the city that fades after the earthquake; Inner Journey, the awakening of the finer senses, the restoration of oneself; and, Body Earth, our bodies existing in a single household, a place in the Universe.

This piece wishes to express a contemporary ritual that sensitizes our conncection with the bodies we inhabil in relation to the planet on which we live.


This project has been possible thanks to the support of the National Fund for Culture and the Arts FONCA (Mexico), through the National System of Creators of Art (2010-2013); to the Fund for the Iberoamerican Performing Arts IBERESCENA (Spain-Mexico) in the call for Choreographic Creation Processes in Residence (2010-2011); to the Arts Residency Grant at the Center for Performing Arts Resource Management "La Nave del Duende" (Spain); to the Residency Program Low Cost in Leggere Strutture Factory (Italy); and, to the Production Residency from Tec-Art-Eco (Italy).


Choreography and Performance: PILAR GALLEGOS
Light Design and Direction Assistance: ROSALBA GARCÍA
Maniqui Head: SAÚL VILLA
Post-Production: LUIS MORALES
Character Psicoanalist: ROSALBA GARCÍA
Photographies of the Performance: JOSÉ JORGE CARREÓN

A woman passes along the fragility, the softness and the minimum of her own thoughts.

Sin Título (Untitled) portray the dream that she relates to her psychoanalyst, during an analysis session:

"It was at afternoon.
I was in a citty where I use to live.
I was driving back home.
Without thinking I took another road".

From here the transformation of a tree into a woman, who encounters with her self-portrait, confronting presence of shadows and apparition of ghosts.

A fear that unties her animal instinct of survival.

An internal universe which provide evidence of the secret souls living into the things.


This project was made possible thanks to financial support from the National Fund for Culture and Arts FONCA (Mexico), through their programs Development Projects and Cultural Co-investments 2006-2007 and Young Creators 2005-2006.


Choreography and Performance: PILAR GALLEGOS
Light Design and Scenography: PILAR GALLEGOS
Photographies of the Performance: JOSÉ JORGE CARREÓN

Videoperformance for four televisions and a dancer, Emoción Plástica (Plastic Emotion) addresses the topics of loneliness and depression as axes of a contemporary discourse common to many young generations of nowadays.

The images on the monitors are a tissue between real present and the imaginary one, between the cruel recent past and present hopeless nightmares, between a terrible present and a promising future.


This project was made possible by the Grant for Artistic Residencies Exchanges Mexico-Canada (2002) awarded by the National Fund for Culture and Arts FONCA (Mexico) and The Banff Centre (Canada).