Laia Estruch

Laia Estruch’s practice hinges on the voice as a material reality—an expressive force and a medium that is expelled from the body. Over the last ten years, her work has broached the fields of contemporary art, spoken word and experimental theatre, undertaking a kind of no-frills exploration of the voice’s communicative and emotive grammar while probing the conventions of staging it. Her interest focuses on the extremities and porosity of the spoken word in its relationship with song and raw sound. The articulation of noises and meanings often encompasses and exceeds human vocal language: breathing, exclamation, mumbling, ululation, cries and whispers. The voice is recast as an extraordinary, supra-human object. Estruch’s recent performances have involved scenes and routines in which her body is suspended above the ground, be it via the playground-like structures and inflatables of Moat (2016–2018), the swimming pool setting of Crol (2019) or the suspended stage of Ganivet (2020–2021).

Laia Estruch has a Bachelor’s Degree in Fine Arts from the Universitat de Barcelona (2010) and also studied at The Cooper Union, New York (2010). She has had solo exhibitions at the Fundació Joan Brossa, Barcelona (2020–2021); Capella de Sant Roc, Valls (2019); and Fundació Joan Miró, Barcelona (2019). Her group exhibitions include La cuestión es ir tirando, Centro Cultural de España, Mexico City (2020), and Back to School, Fundación Rafael Botí, Córdoba (2018). laiaestruch.com

To reconstruct the disorder of a possible city. To use the model, not as an element in a project, but as the representation of something that already exists.
Jordi Colomer