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where you imagine a film and from the perspective where you’re doing something else while you comment on it, so that the body is in two places at once’, she explains. As if a film possessed us. As if we spoke through it.In addition, the use of space in this work sets out to break down the barrier between audience and dancers. On the one hand, it provides the sound experience of a fiction that is never seen but the spectator is urged to be active in order to grasp the proposal and, on the other, there are the six bodies that inhabit the space and make the spectator join in the idea of cohabitation or coexistence.‘We want the audience to feel comfortable, at home. As if they were watching a film on the sofa instead of at the cinema’, Jerez states ‘It’s an original and bold idea that can be classified as contemporary dance, even though the artist doesn’t generally use established conventions’. She does not identify with contemporary Spanish dance, as her career has developed in a different direction. This art, it seems,is more fashionable and refined outside Spain: ‘We’re at a politically very conservative moment that’s very complicated for anything that’s a bit risky, whether politically or artistically’, she regrets. She would like to be able to establish collaborative places with institutions provide that ‘they question themselves politically’.And she adds: ‘I see things disappear, but maybe it’s goodfor things to disappear so thatthey can reappear later’. Shebelieves that working processes receive more support in other countries than in Spain. ‘In Spain things happen at La Casa Encendida in Madrid, in Secció irregular, Mercat de les Flores in Barcelona and a few in Bilbao’. And she praises the work of Mugatxoan, where ‘they’re building a bridge between visual artists and artists who work with the body and living art closer to dance and performance’, she concludes. She comments thatshe has often been called a choreographer, as her choreographies are viewedas a movement of ideas andArticle135Selection of projects