cabosanroque
cabosanroque are Laia Torrents Carulla and Roger Aixut Sampietro. Their work revolves around sound and its performative potential.
Their interventions question the exhibition space and its formats; they also challenge the spectator in the way they inhabit that space —physical, temporal and conceptual; sonic and visual. They are interested in artifice and its relationship to human beings.
They seek tensions between disciplines such as music, theatre, visual arts and sound in order to open margins and conflicted spaces.
Their academic background (music, industrial engineering and architecture) leads them to use technology in all their works, always understood as a tool, as a means rather than an aesthetic in itself, within a continuous research process. They frequently collaborate with other artists, thinkers and writers.
Since 2012, their works have been presented both nationally and internationally.
In recent years they have shown work at: CaixaForum+ (Barcelona, 2023); Centre de Cultura Contemporània de Barcelona (CCCB) (Barcelona, 2023); Cité de l’Architecture (Paris, 2021); Centre Georges Pompidou (Paris, 2020–2021); Center for Contemporary Arts of Glasgow (Glasgow, 2019); La Casa Encendida (Madrid, 2018); Schaubude (Berlin, 2018); Fonoteca Nacional de México (Mexico City, 2012); Teatre Nacional de Catalunya (Barcelona, 2023, 2016, 2008); Sónar Festival (Barcelona, 2018, 2015, 2014, 2010, 2008; Frankfurt, 2008; Santiago de Chile, 2015); Grec Festival de Barcelona (Barcelona, 2023, 2021, 2006); Festival Temporada Alta (Girona, 2022, 2019, 2016, 2012, 2009); La Filature – Scène Nationale de Mulhouse (Mulhouse, 2019); Théâtre Garonne, Scène européenne de Toulouse (Toulouse, 2024, 2020, 2019); Unidram Festival (Berlin, 2009).
Mil tres, say cheese.
Les resurreccions de Don Giovanni
Residencia marzo 2026
Which version of Don Giovanni speaks to our times? What do we carry of Don Giovanni within us and between us?
Mil tres, say cheese. Les resurreccions de Don Giovanni places these questions at the centre and offers stage-based answers.
The piece is a ritual of resurrection and death through gesture, spoken word and music. Each era has brought the libertine back from hell in order to rewrite the myth; an eternal return that often fails, whether by trying to make him more ethically acceptable or through updates that stretch the dramaturgy to the point of absurdity. Don Giovanni has been old man, woman, animal and robot, yet none of these masks has brought any real solace.
Here the focus shifts to the women: not only as victims, but as subjects who evolve and organise. On stage, a chorus of female voices constructs a space of their own —complicity, care, sorority and self-defence— from which to confront the figure of Don Giovanni today.
How do women of the present respond to him? The piece opens up this debate with lucidity, dark humour and powerful physicality.
