Juan Dominguez is a conceptual clown, model-poet, untied narrator and curator of pleasure.

As a maker and organizer within the fields of choreography and performing arts his work explores the relationship between different codes and advocates the complete dissolution between fiction and reality, using the former to produce the latter and vice versa.  He also work on the idea of co-authorship between all the agents involved in a live aesthetic experience.

Some of his works are: The taste is mine (2000), All good spies are my age (2002), The Application (2005), Shichimi Togarashi in collaboration with Amalia Fernandez (2006), All good artists my age are dead (2007), Don’t even think about it! (2008),  blue (2009), Clean Room Pilot (2010), A room without view (2011), Characters Arriving (2011) in collaboration with Los Torreznos, Clean Room Season 1 (2012), Clean Room Season 2 (2014), El Triunfo de la Libertad (2014) in collaboration with La Ribot and Juan Loriente , Clean Room Season 3 (2016), Between what is no longer and what is not yet (2016), Live Sculptures and Slogans – Avant-Garten (2017) in collaboration with Arantxa Martinez , My Only Memory (2018), Tálamo (2020), Between you and me (2020) in collaboration with Amalia Fernández, The Baroques A film from the beginning of the century (2021) in collaboration with Maria Jerez, This is not normal (2021) and This Is still Not Normal (2022) in collaboration with Arantxa Martínez, Rhythm Is The Place (2023), nO me tienE quE interesaR (2023).

In the last 20 years he has curated different festivals and programs. He was artistic director of the Festival In-Presentable/La Casa Encendida (2003-12), co-curator of Living Room Festival (2010-17), co-curator of Picnic Sessions at CA2M-Madrid (2013-15), curator of Winter holiday-Somewhere in between Fiction and Reality/Kunstencentrum Buda Koetrijk (2013), curator From Fiction to Friction- Les Soirées Nomades/Fundation Cartier Paris (2013), co-curator Festival Avant-Garten at Interntional Sommer Festival Kampnagel-Hamburg (2017), amongst others.