Projects

Tender Riot

Co-Creation & Performance:
Ana Rita Xavier
Daniel Conant
Madison Pomarico
Andy Pomarico
Jonas Friedlich
Belisa Branças
Maurícia Barreira Neves

Facilitation and Concept:
Ana Rita Xavier, Daniel Conant
Sound Composition: Jonas Friedlich
Light: Madison Pomarico
Set Design and Costumes: Andy Pomarico
Production: Belisa Branças
Dramaturgical Assistance /
Artistic Doula: Maurícia Barreira Neves

Co-Production:
Guidance Festival 2026 / Oficina

TMP - Teatro Municipal do Porto

DDD Festival 2026

Residencies:
Backsteinboot,
Tanztendenz,
Espaço do Tempo
CRL – Central Elétrica
Fábrica Asa
CIAJG

2026

Tender Riot takes place before anything happens — a preparation for revolt, a campsite of exhausted dreamers. The stage becomes a landfill, a concert, a shame ritual, a performance gone wrong where everybody is in action. We wear every hat, play every role, build and dismantle our own authority, swaddling and manipulating one another — until softness becomes defiance.

Somewhere between a puppet show, a protest, and a burnout support group, Tender Riot unfolds as a dream of a riot that never arrives.

Tender Riot unites seven artists from dance, music, visual art, and performance for their first collaboration. A meeting point between choreography, sound, light, and visual design, the group explores tenderness as resistance and collectivity as practice. Rooted in horizontality and experimentation, they bridge artistic communities across Europe to create works that are both intimate and defiant.

The Reproduction

By:
Madison Pomarico
& Daniel Conant

Funded by:
The Bunesregierung
für Kultur und Medien
GVL
NEUSTART KULTUR

Residencies:
Tanztendenz Openstudios Munich
Cordillera Berlin

2021 - Present

'The Reproduction’ – Is a hybrid dance and technological mashup, questioning the role of ‘the censored image’ in contemporary culture. The work is an ongoing research developed by performers and artists Madison Pomarico & Daniel Conant, who utilize pre-recorded videos of themselves performing specific tasks, which later are re-performed in real time in front of a camera; their images being overlaid onto the pre-recording, producing a ghostly effect of past and present. In this process they play with alternative choreographic timelines and illustrate two or more versions of the same narative.

Human Systems of a Structure

By:
Madison Pomarico
&Paola Pomarico

Ehibitions:
‘Concept 2021’ CICA Museum Seoul, KR

2020

An Environment that is not found, but designed, is distinct by being a product of humans; therefore it is equally as subject to natural, physical occurences as humanity is itself.

What intrinsic human phenomena can be observed by designing a hypothetical, material space, isolated from external variables? What distinguishes the way human beings interact with, and unmistakably impact a space that is not discovered, but conceived?

Human Systems of a Structure is a body of research which studies the physical interface between the material composition of a designed environment or ‘structure’, and the human interaction that facilitates the functionality of that structure. The work demonstrates how somatic movement instigates reactive material displacement of an architectural form; in turn, causing reactive behavior within the body. This recursive process results in exponential progression of both effort in physicality, and structural deterioration.

'Human Systems of a Structure - 16ft Span’ is a video installation which displays documentation of the material research conducted throughout twenty-two individual filming sessions featuring multiple performers. As a structure, the 16ft Span was designed to create spatial boundaries that delineate where interaction is functionally enabled, and physically limited. Performers physically utilizing the Span’s functionality, develop cyclical patterns of movement described by the structure’s inherent trajectory. In conjunction with the form’s ability to dictate where movement can and cannot traverse through space, its reactive, material characteristics instigate the body to recover from material fallout such as: cracking, shearing, sliding and crumbling - all products of deformation. The cumulative deterioration of the span culminates in developmental change; becoming evidential proof that this process is not one of perpetual destruction, but of continuous transformation.

16ft Span Design

The 2ft Cube: a smaller-scale branch of research & development from within the project; created to test levels of permanence and impermanance of various material compositions.

2ft Cube Design

Project Website →

198021 - Five Attempts to Reappropriate the Censor

By:
Madison Pomarico
& Daniel Conant
In collaboration with:
Tasha Hess-Neustadt

Residencies:
Cordillera Berlin

2021

In 198021, the censor became the leitmotif. Five depictions of a dystopian environment convey the manipulative power of the censor as it is reappropriated by three performers. Utopic imagery and the irony of alternative facts, alongside the intentional censoring of bodies and the destortion of text occurs in a monochromatic space, mirroring the stark ‘post-truth’ reality of digitalism in the 21st century. Here, George Orwell’s ‘1984’ is re-interpreted and retrofitted in a present day context, highlighting the parallels between fictional projections of the future, and their uncanny reality.

The Opposite of a Black Hole

Camera, Editing, Animation:
Madison Pomarico Choreography, Performance:
Rebecca Douglass
Tasha Hess-Neustadt

Text & Sound:
Rebecca Douglass
Tasha Hess-Neustadt
Jake Burgess

Commissioned by:
Festival International de Vidéo Danse de Bourgogne, FR
Coctelito de Videodanza, MX

Funded by:
Arts Council England

Residencies:
Field Works London

2022

I wonder what it’s like to float.
Airborne, airport, airbound,
I think therefore am I profound?

Oh, I’m thinking,
I’m thinking about….
I’m thinking abouuuuuuuttt…

The Opposite of a Black Hole is a digital flaneur, an audiovisual journey through the wandering mind of a pinhole camera, exploring the clashing of old and new technologies in relation to the dancing body and the moving image.

The film meanders through homages to old cinema romance, existential dread, and glitch-feminist fantasy, all the while paying tribute to the pioneering figure of Maya Deren.

The opposite of a black hole is a disembodied reflection on what we are made of. It imagines the relations of dust, DNA & pixels to the human body, as well as the malleability of human flesh and voice in the digital realm. The wandering pinhole voices the pleasure of thinking as entertainment, the transformation of thinking to panicking, and the many contradictions of our times, through dreams, nightmares, and tangential distractions.

The artists seek to enter inside the universe of their tributee, digitally penetrating the boundaries of culture and technology that prevent us from time travelling to meet our predecessors - with curiosity, humour, and reverence.

The project - ‘Somnambulists for an Ensemble’ is a 50 minute collective screendance, created as a compilation of 10 internationally selected artist teams’
independent segments. Each segment positions itself in relation to the experimental filmmaker Maya Deren's unfinished dance film Ensemble for Somnambulists (1951). The invitation: for the artists to create a finished version of ‘Ensemble for Somnambulists’, freely reimagined and adapted to our times.

Erythrophobia

Choreography:
Madison Pomarico

Filming and Editing:
Lisa Gusarova
Vera Romanova
Madison Pomarico

Awards:
The Short Cinema Festival 2018 - official selection
Mexico City Videodance Festival 2018 - official slection
Adobe Design Achievement Awards 2018 - honorable mention & semifinalist.

2017

uh·ri·thruh·fow·bee·uh: a fear of blushing

I, The Consumer

Concept, Filming, Editing:
Madison Pomarico

Performed by:
Titisa Jeamsakul

2017

I The Consumer is a video installation consisting of five single-channel videos displayed on CRT TVs. Each TV showcases various choreographic explorations filmed in different locations throughout London. The concept of 'mise en abyme' is explored by showing the same TVs on screen as are present in the physical space. Each TV plays a selection of 1950s and 1960s American advertisements, which is featured both on the monitors and within the installation. The performer responds to this imagery with their physical language and gestures, creating an uncanny interplay between the nostalgic historical footage and the contemporary atmospheres, evoking a sense of eerie familiarity and dislocation.

Performance Works