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In 1980, Guillermo Kuitca had his first encounter with the experimental dance theatre of German choreographer Pina Bausch. Heavily influential on his early painting, Bausch’s collaborative and participatory performance work engaged Kuitca’s interest in the tension between the human figure and negative space, and the ability of simple artistic language to express complex emotional ideas. As he remarked later in his career to Graciela Speranza, “In the thought of Pina Bausch, there was something t

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