• Dance

  • Installation


By Patricia Campos and Francisco Ríos


  • Spanish
  • 30 minutes
  • +10 años

A scenic piece of videodance by Patricia Campos and Francisco Ríos, pioneers of large-scale choreographies in Valdivia.

This is a theatrical installation that blends dance, video mapping and real time projections. The play imagines different scenarios using water in its different shapes and forms, inspired by the rainy landscape of Valdivia and the south of Chile. Fatamorgana is an invitation to connect with the illusion of images, a play on the normal contours of the element that is water that experiments with its most playful and creative aspects.

Patricia Campos


Water-based choreography

This independent dance artist is dedicated to creating, directing choreographies, acting, performing and teaching. She’s been working creatively for more than ten years to diversify audiences, developing projects both on her own and with artists from other disciplines in the areas of theatrical dance, performance and videodance. She lives in Valdivia and is involved with companies and projects that mainly tour the south of the country.

Francisco Ríos

Francisco Ríos

Audiovisual projections

This film maker and musician from the city of Valdivia has done some outstanding work as a director of documentary cinema and fiction on the films Los Pasos Buscados and Curiche, as well as for the cultural television series Buscando el instrumento madre. He’s also in charge of the audiovisual production company GUAIRAO, developing creative processes based on theater, dance, light and music. He specializes in photography and works actively on projects linked to patrimonial and cultural documentary records.

—Patricia Campos and Francisco Ríos are pioneers of videodance in Valdivia, which has paved the way for them to participate in different events and festivals throughout the country and abroad. They’ve won several awards and prizes, including Best Choreography for Camera at the 2017 Imagen en Movimiento Festival in Bogota and the Environment Category special award at the 2018 Corporalidad Expandida Festival in Buenos Aires.

—Their work is based on the landscape. From A flote onwards (part of the play Paisajes en movimiento), which was recorded using a drone , they’ve been thinking not only on a theatrical plane but as bodies in a larger context. This is large-scale videodance.

Mapping: This audiovisual technique is considered an artistic medium and is a form of expression based on projecting images onto any surface, normally buildings. It’s usually accompanied by sound and optical effects to make what is being projected seem more realistic. It first emerged in shadow puppetry around 200 AC, then in magic lanterns and seventeenth century phantasmagoria, involving dark chamber projections using different optical effects. In the seventies, it started to be used in multimedia environments on multiple screens and in virtual reality and performance. Some of its most famous pieces are Ebb and Please (Amy Jenkins, 1996), Man She She (Tony Oursler, 1997) and The Homeless Projection: A Proposal for the City of New York (Krzysztof Wodiczko, 1986).

Videodance: This genre is the result of experimenting between dance and the technique of capturing images. It dates back to the appearance of video art and the beginning of cinema and its evolution runs parallel to these throughout history. It doesn’t involve dances recorded on video, but rather dance and camera establish a symbiotic relationship. In these pieces, the choreography’s creation typically exists only on film or video. “Neither dance nor the ways of expressing it are at the service of each other, but rather they are companions or collaborators in the creation of a hybrid form”, says North American producer and theorist, Douglas Rosemberg.

—Watch an interview with Patricia Campos and Francisco Ríos during the sixth version of the Proceso de Error Experimental Video Festival in Valparaíso.

—Watch Manada, a choreographic creation by Campos and Ríos in a short-film format.

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