Esther Planas, Barcelona, 1960. Lives in London.

Studied Contemporary Dance at The London Contemporary Dance School (The Place) London, El Institut del Teatre Barcelona, at Area Spai de Dansa and La Caldera, Barcelona between 1978/1996

Published V.O. magazine,1984 /5 Barcelona/Spain and DARK STAR (Barcelona/London 1999/2002)
Booth series of publications have being acquired recently by MACBA Arxius.

Founder Member of artist cooperative Five Years, London 1998/2016

Member Scientific Committee at Eme3 Architecture Festival Barcelona 2011/2016

Member/Guest at The New Centre for Research & Practice (USA) 2015/2017

Masters in Research (MRes on Theory of Art and Philosophy) at Central Saint Martins 2014/17.

Selected/Participant for the Artlicks Festival2015/ Threptikon: A Simposia about the soul of Plants and us/ 2015 London/ Artlicks Weekend 2015

Member of the 2014/15 LUX Critical Forum hosted at LUX, Artist Moving Image, London

Awarded: The Trask Foundation Bursary 2014/2015

Nominated for the 20th Paul Hamlyn Foundation Art Awards 2014

Selected Participant: 8 Performance Festival of Cali, Helena Producciones, Cali, Colombia 2012

Awarded: BCNProducció/10 La Capella, Barcelona 2010

As some one who has not studied art, but dance, and has investigated various media as form of expression— that where always in connection with wanting to learn by praxis as research even if
in self-instituted productions, beyond the walls of the institution — my work feeds in the experience of the 70's underground liberation and counter-culture scenes in late fascist Barcelona.

Since then and after the mid 80’s, it started to navigate the subterranean with a politics of self-constituent or self-instituent practices.

No mattered either, if a total outsider or in the periphery of the Contemporary Art World.

Meaning with this, that during a a series of years (1985/1994) working on purpose against the anglo-eurocentric indications of canon, with all Jewish-Arab, Al-Andalus/ Sufi and Flamenco/Mediterranean related subjects, living and working in Sevilla and traveling to Rabat, Tangier or Tetouan, Sicily and Naples.

Connecting with an ethos around nomadic affects and of the warm and small, and against the use
and the abuse of peoples in relations of power that our times and most of the arts scene promote. Going always back to basics and prioritising context of lesser competitiveness and more empathy highlighting a love for exploration and study.

Either call this a continuum will of grass roots level of action or a very submerged, occult, limited “almost there” stage of the works and of the activities across time’s decades. As their intrinsic nature, blurs between the practice of the so called “new curatorial” or the exhibition based artist works.

As it inspires itself from early stages of the practice as Editor and Publisher (1984/1985) and later with the artist run lead productions (1998/2017) and the exploration of that that made a difference between works done inside the institution, versus the playfulness or experimentation (display, ways of relating, inclusion of other’s works etc) in a sort of free fall jumps to the unknown side of work.

As an artist who started on a self taught basis and under the influence of the liberation of the conservative uses of culture that was part of the counter-cultural actions of the artist and performers who informed and influenced me in Barcelona during the 70's, my work is highly un-conforming towards the institutional and the canonical.

This inherent tendency towards dissent is produced by an unusual context. Having left school under the oppressive fascist regime of the late Franco's dictatorship in my hometown, have affected my work and formation and implicated traversing in all consequences.

Somehow I can't avoid to be a result of circumstances which are not only of socio-political input, but that are also socio-economic and of class.

How does a person without means and proper education work as an artist?

The relevant answers are all part of my trajectory.

My actions, my kind of work, what I have prioritised.

Immateriality, the International Situacionist legacies or Punk and Post Punk as methodologies in dialogue with Flamenco's fusion and background based in cultures that once are underground are shared and transcend in newer formats other categories.