© Domnikus Moos
Laleshka Salas Salazar (1995, Lima-Peru)
Her approach to circus is as a tool that enables her to question, suggest, and shift perspectives. She is particularly interested in how the body interacts with everyday objects and in the valorization of these varied physicalities. Following this line of thought, the question that drives her artistic propositions centers on the notion of the invisible: What do we see in the everyday, and what is rendered invisible through the automatism of gestures
Part of her performance practice engages with questioning the structures that shape the performance world, its codes, expectations, and the systems that define what it means to be a “professional” artist today. Rather than rejecting spectacle, I seek to reveal its necessity as well as its contradictions, exploring other possible ways of making and sharing presence. My work often becomes a place where life and performance blur.
This attitude, both irreverent and tender, has been shaped through embodied encounters. One of the most significant was working with Micha Goldberg, where performance and circus stopped being separate disciplines and began to speak through one another. From there, my path has unfolded not as a straight line but as a web of gestures, shared time, and complicities. I’ve learned with and through artists such as Carole Drouillard, Doris Uhlich, Benjamin Loyauté, Marit Shirin-Carolasdotter, Caroline Strubbe, Rimini Protokoll, and Les Nouveaux Disparus. These collaborations expanded my experience as a performer and sharpened my sense of what it means to build something collectively—through friction, trust, and the unpredictability of being many.