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| La Ribot | |
|---|---|
| Name | La Ribot |
| Birth name | María José Ribot |
| Birth date | 1962 |
| Birth place | Madrid, Spain |
| Occupation | Dancer, choreographer, visual artist |
| Years active | 1980s–present |
| Notable works | Cantatutti, I’m Gonna Dance, Cómo se come una mujer |
La Ribot is a Spanish dancer, choreographer and visual artist known for an interdisciplinary practice that intersects contemporary dance, performance art, and installation. Her work has been presented at major institutions and festivals across Europe and the Americas, and she has collaborated with influential artists and companies in contemporary dance and performance art. La Ribot’s practice often interrogates the body, authorship, and spectatorship through durational formats, serial structures, and gallery-based pieces.
Born in Madrid in 1962, La Ribot trained in classical and contemporary techniques during formative periods in Madrid, Paris, and London. She studied with teachers and institutions associated with the legacies of Nijinsky, Martha Graham, and Merce Cunningham influences through exposure to companies such as the Royal Ballet, Ballets Russes traditions, and emerging contemporary schools in Europe. Early encounters with choreographers from the Judson Dance Theater lineage and European experimental venues shaped her sensibility toward site-specificity and conceptual performance. Her education connected her to institutions including the Conservatoire de Paris, the Trinity Laban Conservatoire of Music and Dance, and workshops linked to the Tanztheater Wuppertal Pina Bausch network.
La Ribot’s early career unfolded amid the vibrant experimental scenes of Madrid and Barcelona, extending into residencies and presentations in Berlin, London, and Paris. She gained international attention through performances at festivals such as the Edinburgh Festival Fringe, Avignon Festival, and the Venice Biennale, and through collaborations with companies like Company Wayne McGregor, Siobhan Davies Dance, and Rosas (dance company). Her breakthrough works circulated in both theatrical and visual-art contexts, earning invitations from museums and galleries such as the Tate Modern, the Musée National d'Art Moderne (Centre Pompidou), and the Museum of Modern Art in New York. Early critical recognition from publications like The Guardian, Le Monde, and The New York Times helped cement her international profile.
La Ribot’s choreography blends theatrical timing, sculptural spatiality, and conceptual frameworks inspired by artists and theorists including Marina Abramović, Yves Klein, and Jorge Oteiza. Her performance style frequently employs durational scores, repetition, and serial composition reminiscent of practices associated with Minimalism, Fluxus, and the postmodern dance tradition. She integrates objects and props, drawing on aesthetics linked to Duchamp-influenced readymades and installation strategies found in galleries like the Guggenheim Museum and the Stedelijk Museum. Her work dialogues with contemporaries such as Trisha Brown, Anne Teresa De Keersmaeker, and William Forsythe, while engaging curators and programmers from institutions like the Baltic Centre for Contemporary Art and the Whitney Museum of American Art.
Significant pieces include Cantatutti, I’m Gonna Dance, and Cómo se come una mujer, which have been shown at festivals and venues including the Biennale di Venezia, the Documenta exhibition, and the Salzburg Festival. La Ribot has collaborated with composers and musicians from the realms of Philip Glass, John Cage-influenced experimentalism, and contemporary sound artists associated with labels and venues such as Rainer Werner Fassbinder-era film circles and the MoMA PS1 programming. She has also worked alongside visual artists and choreographers including Matthew Barney, Isa Genzken, Jan Fabre, and Meredith Monk, and with institutions such as Teatro Real, Opéra National de Paris, and the Municipal Theatre of Santiago de Chile. Her gallery works have been acquired by collections at the Museo Nacional Centro de Arte Reina Sofía, the Tate Modern, and regional contemporary art centers throughout Europe and Latin America.
La Ribot has received numerous honors and fellowships from cultural bodies such as the Spanish Ministry of Culture, the European Commission cultural programs, and arts councils including the Arts Council England and the Calouste Gulbenkian Foundation. She has been awarded prizes and residencies from festivals and institutions like the Tyne Theatre and Opera House programs, the Prinzregententheater fellowships, and recognition at events including the Prix de Lausanne-adjacent circuits, and national awards in Spain and France. Critical accolades from outlets such as El País, Der Spiegel, and The New Yorker have documented her impact on contemporary performance.
La Ribot’s work has influenced a generation of choreographers, performance artists, and visual artists working at the intersection of stage and gallery contexts, including practitioners connected to Barcelona contemporary art scene, Berlin independent dance, and Latin American experimental networks like those in Mexico City and Buenos Aires. She has taught and given workshops at institutions such as the Universidad Complutense de Madrid, the University of the Arts London, the Akademie der Künste Berlin, and guest-lectured at programs linked to the European Graduate School and the Juilliard School. Her legacy is visible in pedagogy that emphasizes durational practice, interdisciplinary research, and institutional critique, and in contemporary choreographic curricula across conservatories and art schools in Europe and the Americas.
Category:Spanish dancers Category:Contemporary choreographers