Through a mix of choreography, immersive installation and performance, the Spanish choreographer Candela Capitán, from Seville, explores alienation, eroticisation and the automatization of desire in digital environments, where the body is trapped between constant vigilance and exposure.

The performance “SOLAS” addresses the over-exposure of the female body in the digital era. In this choreographic construction, five performers, five computers and a streaming platform share the same space — physical and virtual. These women performers contemplate themselves as they are observed, in a production that takes on the gaze, repetition and vigilance.

Across stage and screen, “SOLAS” develops a post-internet aesthetic: the lights of mobile devices, futuristic bodies, Apple computers, domesticated eroticism. Everything here is surface, reflection, pixels. The choreography expands into the online world, not only occupying digital space but denouncing it. With a soundtrack by Brazilian artist Slim Soledad, the performance explores the erosion of identity on social networks, the aestheticization of desire and the monetisation of the female body in the immaterial marketplace of data.

“SOLAS” is both an exercise in visibility and a ferocious critique of the ways that female bodies are captured, reproduced and emptied of meaning in the endless cycle of images. It questions hyper-individualism, the narcissism of the algorithm and the impenetrability of a culture where everything is on show but little is understood. Here, the body is not only observed, it also regains its disruptive potential as a territory both political and palpable under hyper-visible conditions.