Marina Otero Archives

Ayoub, Colonialism
and Palestine

Aiub. Ioug. Ayub. Ainou. Aiou. I had the same difficulty pronouncing her Arabic name as I had understanding that our love wasn’t possible in an impossible world.

This name came to destroy, in some way, my West.

Initially, this project was intended to save a man in a vulnerable situation, and for that man to save me from loneliness. I traveled to Tangier (Morocco) to find him, marry him, give him my Europeanized South American papers, and then create a new work based on that.

But Ayoub appeared, and the project collapsed. His name (“the returnee” or “the repentant”) is very popular in Islamic countries: 615 children of that name were murdered by the Zionist state of Israel in the Gaza Strip.

For those dead, I name this work after you, about colonialism, about Palestine.

And everything I want to kill inside me.

September 25th – 29th, 2024 Théâtre du Rond-Point, Paris
October 3rd – 4th, 2024 HAU – Hebbel am Ufer, Berlin
October 19th – 20th, 2024 Staatstheater Mainz, Mainz
October 31st – November 2nd, 2024 VIDY, Lausanne
November 5th, 2024 L’onde – Théâtre et Center d’Art, Vélizy
November 12th, 2024 teatr polski (Festival Prapremier), Bydgoszcz
November 21st, 2024 Temporada Alta, Girona
March 19th – 23rd, 2025 dansa metropolitana, Barcelona
March 26th – 29th, 2025 Les Célestins, Lyon
May 16th – 17th, 2025 FITEI, Porto
May 24th, 2025 Spring Performing Arts Festival, Utrecht
May 29th, 2025 Mittenmang Festival, Bremen
June 4th – 7th, 2025 Rising Festival, Melbourne
90 minutes

The Third Chapter of a Poignant Lifelong Project

Bringing together Bach and Miley Cyrus, she creates with “Kill Me” a complete and radical work, sometimes unsettling, sometimes subversive, but always impactful.
Olivier Frégaville-Gratian d’Amore

Kill me (2024) is the continuation of Love me (2022) and Fuck me (2020), in turn it is part of the project “ Remember to live ”, in which I intend to present different versions of works until the day of my death.

Entering into the cliché of the midlife crisis, I began to film everything I did: with my heart open 24 hours a day, I recorded everything.

Until one day I collapsed, I was given a psychiatric diagnosis and I decided to make my next piece out of it. I called on four dancers with mental disorders and Nijinsky, to make a piece that talks about madness for love.

But let’s say that the topic is about mental health so that it enters the inclusive agenda of the art market.

Because that is my punishment, having to make works that sell and thus stay alive in the world (of theater).

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Ayoub, Colonialism and Palestine

The Third Chapter of a Poignant Lifelong Project

Ayoub, Colonialism
and Palestine