BIO
Brig Huezo ( Pronouns they/them*) is Post-Digital Choreographer, Dancer and Performer. Nominated for the NRW State Prize for Young Artists 2024. They studied BA in Dance at the University of Music and Dance Cologne (2021) with the support of the DAAD and private scholarships. Interesting in deconstructing the body in a virtual tech-driven world. Working at the intersection of motion tracking technology, gaming, 3D design, and film. In 2023, created first commissioned work an interactive dance game installation “POST DIGITAL BODIES” for Tanzhaus NRW’s 25th anniversary. From this work concept developed a motion capture workshop as part of the exhibition WE ARE IN HELL WHEN WE HURT EACH OTHER by Jacolby Satterwhite, invited by Kampnagel and Deichtorhallen, Hamburg. Latest work “THE DEAD CODE MUST BE ALIVE!, a hybrid dance solo work an extensive set of real and glitch references, e.g. in the field of cyberfeminism guided by mythology, phygital dance, as well video game imagery. The initiation of this project has been supported by Dachverband Tanz within the framework of Tanz.digital programm 2022. This last work was presented at Beyond Gravity Festival, Theater im Depot, 2023, and TEMPS D`IMAGES Festival, Tanzhaus NRW, 2024. Huezo has actively contributing as Guest lectures artist at TanzNRW Festival, Transcorperealities at PACT Zollverein, Creative Technologies Meetup, Fab Lab St.Pauli. Their first piece as choreographer was PORTRAITS and have been shown in different festivals: Atelier n° 64 PACT Zollverein, 2020, Transeuropa X Festival, 2021, Tanz.tausch Festival, 2022. As a researchers in Post Internet Dances Research Lab with Tanzhaus NRW and “Digital Agora”, Freiraum, As a dancer and performer, they have worked in diverse performative settings e.g.Nick Mauss, Treatise on the Veil, Museum Ludwig, Köln, Young Boy Dancing Group, Kunsthalle Osnabrück. As well contributing within performing co- creation projects such: “R.I.P.”, Anan Fries,"GOLA",Reut Schemesh, "Ultramarine Sway", Tacho Tinta , LYCS Collective, Museum Ulm, UMANIMAL, (Film awarded in different international film festivals) and among others.
Brig Huezo
Artist Statement 

How did human bodies get so hyper-real, constantly visible, fragmented and multiplied? How have they integrated into complex digital systems – and vice versa? Which bodies rely on digital and virtual spaces in order to become real? How do they collectively produce alternative proposals to the restrictive and often violent realities they are confronted with in the physical world AFK?
Informed by cyberfeminism and low brow culture, I am interested in creating hybrid spaces of experimentation in which identity is in constant shift, collaged, ephemeral, can constantly be re-arranged, its parts copied and pasted and moving beyond a clear divide between the real and the imaginary. 
While I am well aware that the power structures of patriarchy and heterocoloniality are reproduced in digital technologies and institutions, I do still believe that hijacking them, using them in ways unthought-of by their creators, holds the potential for widening the small tears in the fabric of what is commonly referred to as “reality“. 
I have no interest in the body as conceptualized by Da Vinci, a seamless entity, white, male, a machinery running smoothly. Instead I make space for a different kind of human body, one that holds multiplicity and contradictions, that is fragmented, an archive of identities, a body that yearns for something it has been told is impossible.
By experimenting with one’s own identity and becoming fluent in the languages of digital drag, digital technology allows for creating alternatives to norms and institutions in power. Especially for bodies who are racialized, for queer bodies, for bodies that are violently made to fit into a rigid system but never can, those technologies are not merely a talking point to be discussed either from a viewpoint of cultural pessimism or naïve techno-optimism – they oftentimes are a tool of survival.
Connecting body and machine, becoming avatar, becoming cyborg – and making visible the various acts and failures of translation involved – is a way of denaturalizing the political regimes in place. It is a way of world-building, of speculating how things could be different, different even from what we now believe is physically or biologically feasible.
In looking to create spaces and situations in which those  anti-essentialist (body) politics could be prototyped, my practice has become a laboratory for a politics of difference. With an emphasis on process, I collaborate within a non-organization of experts and amateurs, participation based on each individual’s own initiative and interest. Against a mere extraction of expertise, I focus on learning together to form a skill-set around how to hack technologies to use them on our own terms, remix and glitch them. In this process, I see myself responsible for the development of conceptual structure and the curation of the forms in which it is realized. Aside from an artistic contribution to cyberfeminism, my way of working is also reflective of what I am looking for in cyberfeminism myself: The formation of experimental communities stretching across physical and digital space, their collaborative building and maintenance.