Imperfecto Imposible

A KALTBLUT exclusive. Photography and creative direction by Arancha Brandón. The director and choreographer is Richard Mascherin. Dancers are Richard Mascherin and Ignacio Fizona. Styling by Aster Rodríguez. Text by Roberto Majano. Fashion brands used are Lemaire, Ssstein design, Clothes designed by the stylist Áster Rodríguez from the collection “Abeba Archive”, Clothes designed by Patrick Walsh Romeo, Cos. Costume production by Jota Studio. Stage design by Laura Iturralde.

This editorial project emerges from the new dance work Imperfecto Imposible (2026) by choreographer and dancer Richard Mascherin. A tour across Spain and Europe will begin soon, following its premiere at the renowned Dans València.

Two bodies circle each other between devotion and dependency, attempting to impose a sense of permanence onto something inherently finite. How do we stay upright? How do we love when the outside world presses in as noise, rupture, threat? Sometimes the other holds us up. Sometimes they open into absence.

In Richard Mascherin’s universe, falling is not failure but a way of being, a physical and emotional state that reframes collapse as connection. Imperfecto Imposible moves through sensation before language, something felt on the skin before it can be named.

It invites surrender to desire, to remain inside intensity, and to recognise that endings do not only signal loss but can also become another possible shape of love.

Two bodies move between admiration and dependency, reaching toward an idea of permanence that their organic, finite condition cannot sustain. In a fractured and volatile present, it becomes difficult to accept that what protects us might also expose us.

The relationship begins in contact. Through friction, a pre-linguistic language emerges, something instinctive, shared, and unstable. Intimacy multiplies and boundaries blur. How do we remain standing? How do we love when everything external insists as noise, incoherence, threat? Sometimes the other is a structure of support. Sometimes it becomes a void.

Memory introduces distortion. To remember is to displace, to alter, to rebuild from a body that has already changed. Nothing repeats in the same way. Every return carries a loss.

In Mascherin’s work, falling moves through the body as both condition and method. It is not an interruption but a constant. The body leans into risk, testing its limits and turning vulnerability into material. His choreographic language draws from dance, performance, and ritual, layered with cinematic, expressionist, and science fiction undertones. Collapse does not simply signal failure. It becomes a shared intensity, where gesture sharpens into revelation and the everyday shifts into something unfamiliar, almost surreal.

Imperfecto Imposible unfolds in cycles, moments of order that immediately unravel. Attachments form and dissolve within the same movement. Each encounter defines a space, a bond, a temporary structure that already contains its own disappearance. The choreography expands across a 360º field where symmetry doubles and fractures the duo. The bodies mirror, invert, and misalign. Like memory, there is no single fixed image, only shifting versions of the same moment.

The impossible is not defined here by unreality but by intensity. Fiction does not function as escape but as an extension of perception. The bodies hover between balance and collapse, desire and exhaustion, closeness and friction. There is sensuality, but it is threaded with risk.

What emerges is a space where connection becomes a threshold between holding and falling, between merging and losing. Two bodies build and undo themselves repeatedly, rehearsing surrender not as disappearance but as another way of being with one another.

The piece unfolds through sensation, bypassing logic and moving toward what is felt before it can be articulated. The sculptural tension of the bodies evokes something almost baroque, suspended and twisting against the surface of a contemporary city. Time folds into itself. Past and present blur. Each gesture echoes, insisting on repetition while quietly pointing toward release.

Imperfecto Imposible does not resolve. It lingers in the difficulty of endings, in the impossibility of aligning them, and within that space, it suggests something else, that leaving, too, might be a form of love.

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