Raw Rythms
Cecilia Bengolea
+ [CAVE Project] Sarah Brahim
Exhibition
Solar - Cinematic Art Gallery19 Sept (Sat) | 17:00 Opening | 18:00 Performance
[19 Sept a 7 Nov | Mon - Sat | 14:00 - 18:00]
Free admission
[19 Sept a 7 Nov | Mon - Sat | 14:00 - 18:00]
Free admission
On this exhibition, I show twelve years of my video practise. Both in digital and super8. From my practise of body movement and dance to the movement of images, what I m always interested in is in rythm, flow, sensation of time and mutual influence between man and nature.
– Cecilia Bengolea
Following the opening, the project includes the performance Bodies of water at 6.00 pm at Solar.
Co-production and partnership: Solar Galeria de Arte Cinemática, Circular Festival de Artes Performativas
CAVE PROJECT
Exhibition
– Cecilia Bengolea
Following the opening, the project includes the performance Bodies of water at 6.00 pm at Solar.
Co-production and partnership: Solar Galeria de Arte Cinemática, Circular Festival de Artes Performativas
Cecilia Bengolea (Buenos Aires, 1979) is an artist working across performance, video, sculpture, and dance. Her practice explores the body, individually and collectively, as a medium of memory, empathy, and emotional exchange. Using movement as a form of animated sculpture, she conceives dance and performance as sites where symbolic, social, and natural energies converge, with her own body often positioned as both subject and object.
She has collaborated with artists such as Dominique Gonzalez-Foerster, Jeremy Deller, and numerous dancehall performers such as Craig Black Eagle and Oshane Overload. Her choregraphic work in collaboration with François Chaignaud was awarded by the Prix de la Critique (Paris, 2010) and recieved the Young Artist Prize at the Gwangju Biennial (2014). Bengolea has been commissioned choreographic pieces by Ballet de Marseille, Ballet de Lyon, Ballet de Lorraine, and Pina Bausch Tanztheater Wuppertal.
Bengolea’s work has been exhibited internationally at venues including the Guggenheim Bilbao, Centre Pompidou, Tate Modern, Palais de Tokyo, Dia Art Foundation, Bourse de Commerce – Collection Pinault, Museo Reina Sofía, MUDAM Luxembourg, Art Basel Parcours, Desert X, and the Gwangju and São Paulo Biennials, among many others.
Her work can be found in major private and public collections, including Pinault collection, Museo Reina Sofia, Kadist France, Mudam Luxembourg, TBA21 Academy, MIRE - Fond cantonal d’art contemporain, The Vinyl Factory, Le CNAP, Le Consortium, Fiorucci Art Trust, Tank Shanghai, Fundación Arco, and the MONA - Museum of Old and New Art of Tasmania among others.
In 2023, she was a guest teacher for the Performance master’s program of the Architecture University of Venice, Italy.
She lives and works in Paris and Buenos Aires.
CAVE PROJECT
Exhibition
There Will Come Soft Rains
Sarah Brahim
Sarah Brahim
In Search of an Honest Map (2025), de Sarah Brahim
In Search of an Honest Map (2025) presents a poetic perspective on the cycles and circles of life, and to one’s relationship to place—a gesture of reclamation and introspection in a world that often leaves one feeling disconnected and depleted. Brahim turns to her native Saudi Arabian desert as a site of escape and as a collaborator of presence. She traverses the expansive canvas in searing forty-five-degree heat with intention, trailing her feet to create an indexical mark in the sand. She lies within the shape she has drawn, fashioning her own refuge—at once an act of resistance, and reclamation. Her choreographic vocabulary is informed by phenomenological thought and ritual practice, and the work suggests the possibility of internal transformation through presence and repetition. The performance does not impose itself on the landscape—yet emerges from an act of listening; listening not only to the environment, but to the body and to inhabited memory. Rather than positioning the body as separate from
space, Brahim’s work dwells within it, creating meaning and dialogue through movement. In this way, her performance becomes a cartography of the present—mapping not history, but presence itself.
Brahim receives the space rather than occupying it—her body becoming a quiet contour etched into the sand. The simplicity of the gesture belies its depth: a shape formed through years of repetition, tracing back to the dance studio where she trained from the age of three. What appears as ritual is not merely cultural—it is also the residue of practice, of embodied study, of muscle memory honed through time. Practicing in the landscape becomes a return to a thought, a way of remembering through movement.
Brahim’s work engages in a kind of choreographic mapmaking—marking time and terrain not through domination but through presence. The gestures she offers, the traces she leaves—curves in the sand, the shadow of a limb—are not performances in the conventional sense, but meditations on how we relate to land and place, introspectively and collectively.
There Will Come Soft Rains (2025) presents the continual research and investigation of the artist relationship to the landscape. Filmed in the early hours of the morning in Al ula on the Harrat Hills Brahim’s practice after years of coming to this landscape we witness is not to choreograph in this case, but to allow the wind to become visible through the body. The text written by the artist offers an insight to their continuous writing and teaching practice which brings audiences into their own bodies through tasks, and somatic descriptions.
Sarah Brahim (b.1992, Riyadh) is a visual and performance artist working across many mediums to present work rooted in experiences of the body. She trained as a professional performer, teacher, and choreographer at San Francisco Conservatory of Dance, and received a BFA (Hons) from London Contemporary Dance School. Her research-based practice began while studying medicine at university, as she continued practicing and performing. The pursuit to understand the body through every possible lens - biological, physiological, experiential, and more - led her to receive her BS from Oregon Health and Science University, with a focus on medical anthropology, naturopathic medicine, and public health. In her work, Brahim examines how gestures of the body create a language that can be used to voice grief, metamorphosis, the unseen form, and our relationship to the natural world. Transformation through movement is reflected in her works that explore questions of embodiment and cycles of connection, whether social, spatial, or spiritual.
Sarah Brahim’s work has been presented at the AlUla Arts Festival, AlUla (2025); The Grand Palais, Paris (2025); MOMI New York Arab Festival, New York (2024); The Venice Biennale, Venice (2024); Locarno Film Festival, Film Makers Academy, Locarno (2024); Paco Imperial, Rio de Janiero (2024); Louvre Abu Dhabi for the Richard Mille Art Prize, Abu Dhabi (2024); the Islamic Biennale, Jeddah (2023); the Biennale de Lyon, Lyon (2022); the Diriyah Biennale, Diriyah (2022).
In 2023, she was in residence at Robert Wilson’s Watermill Center in New York and received the Baroness Nina von Maltzahn Fellowship for the Performing Arts. Her first international solo exhibition Sometimes We Are Eternal was presented at Bally Foundation in Lugano, Switzerland (2023-2024).
Most recently, Brahim was awarded the 2025-2026 Pina Bausch Foundation Fellowship, also having received the Chevalier de l’Ordre des Arts et des Lettres by French Ambassador Ludovic Pouille on behalf of the French Republic and President Emmanuel Macron in 2024.