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Performing artist, dance anthropologist and experimental stage director. His work is focused on kinesthetic experience through live and digital movement art. His artistic proposal has been presented internationally in renowned venues, and is characterized by physical theatricality, multimodal metonymy and the creation of enigmatic atmospheres.
His research and artistic production are often related, as can be seen in his work "Dancing embryo" where he explores dance as a doubly encoded act, where creativity and performance are experienced and tested by biological and artificial systems.
In 2025, Marín received the “Saberes Danzados” Award from Mexico’s National Institute of Fine Arts (INBAL) and was shortlisted for the One Dance UK Awards 2022 in the United Kingdom. He has been also honored with the artistic fellowships “SACPC Interdisciplina y Transdisciplina 2022” and "PAPIAM-D 2025" from the Mexican Ministry of Culture.
In his book 'Embodying the Artificial', he introduces a conceptual tool and method for human–AI dance co-creation, which has been taught in university dance programs and shared at leading research conferences in the the UK, Norway, Spain, Mexico, Colombia, Argentina, and South Korea.
See CV and portfolio below.
CURRICULM VITAE
• Company Director | Ballet Contemporáneo de Ciudad Hidalgo | 2015-2020
• Producer | Umbra Dance Theatre | 2018-2021
• Choreographer | Cobalto Dance Company | 2018
• Dancer | OPEN FLR (Chris Evans) | 2017
• Dancer | Hírbido (UNLA) | 2010-2015
• Institut del Teatre de Barcelona (MA in Theatre Studies) 2025
• CENIDID National Centre for Research, Documentation and Information on Dance (MA in Dance Research) 2025
• Rambert School of Ballet and Contemporary Dance (MA in Dance Research) 2023
• University of Cambridge (Leverhulme Centre for the Future of Intelligence) 2022
• Universidad Internacional de la Rioja (MA Thesis supervisor) 2023
• PAPIAM-D | National Center for the Arts (Mexico) | 2025
• Doctoral Research Fellow | RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion (UiO) | 2023-2027
• Erasmus Mundus Joint Master Degree Fellowship | Choreomundus Consortium | 2020-2022
CURRICULM VITAE
• PhD in Interdisciplinary Studies in Rhtyhm, Time and Motion | University of Oslo | 2023-2026
• International Master in Dance Knowledge, Practice and Heritage | Choreomundus consortium | 2020-2022
• Certificate in Motion Capture | University of Oslo | 2021
• Master in Theatre Production | Universidad Internacional de la Rioja | 2019-2020
• Bachelor in Dance | UAEH School of Arts | 2019-2020
• Diploma course in Neurosciences applied to Performing Arts | Universidad Veracruzana | 2018 - 2019
• Specialization in Cultural Policy and Management | Universitat de Barcelona | 2016-2017
• Diploma course Dance teaching methodologies | UMSNH | 2015
• Bachelor in Communication Sciences | Universidad Latina de América | 2010-2014
• Diploma course in Contemporary Art History | Universidad Latina de América | 2013
• Visiting student | University of Cambridge: Leverhulme Centre for the Future of Intelligence | 2022
• Guest researcher | University of Oslo, RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion | 2021
• Contemporary Dance syllabus | ISTD London & Ross McKim | 2022
• Graham for Europe | Graham technique | London Workshop 2022
• Conservatoire Emmanuel-Chabrier | Cunningham technique | 2020-2021
• Ifunamboli Paris | Contemporary ballet | 2020
• FONCA Mexico | Choreographic creation | 2019-2020
• Batsheva Dance Company | Gaga Technique | 2019 Winter Audition Course
• Universidad Veracruzana | Release and floor work Techniques | 2018
• María Tonantzin | Graham Technique | 2017-2018
• Chris Evans | Gaga technique | OPENFLR 2017
• Jenia Kasatkina | Countertechnique | OPENFLR 2017
• Centro Pro-ballet de Michoacán | Ballet ISTD | 2015-2017
• Casa de la Cultura Morelia | Graham Technique | 2014-15
• Universidad Latina de América | Jazz Technique | 2010-14
• Choreographic Coding Lab | Motion Bank | Germany, 2025
• SIB Lab | Teater In-Landet| Norway, 2025
• Centro Cultural del Bosque CDMX | Plataforma Interacciones FONCA | Mexico, 2020
• CASA Oaxaca | Plataforma Interacciones FONCA | Mexico, 2019
• CECOART Durango | Plataforma Interacciones FONCA | Mexico, 2019•
Academic
The paper discusses the technological, philosophical, and artistic implications of AI dance, proposing that the experience of dance can be perceived and completed through human interpretation, even when performed by machines.
Summary of the first human-AI dance performance of the project "Dancing Embryo" at the CFI University of Cambridge.
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