Press and reviews

The Brooklyn Rail, Four continents and five boroughs on the harbor, Gillian Jakab, September 4, 2018

“The most compelling moments of Thinking of Knowing arrive at the opening and the ending.  The three men walk onto the stage and each stake out the points of a triangle along the edge of the space, one facing out toward the Hudson River. They take their time; it’s an introduction—an acclimatization to the space and an orientation to each other. With the drop of an electronic beat, the dancers bodies begin to melt and pulse”.

“…Núñez draws attention from the chaos not with dramatic gestures but with small, repetitive movements: pulling up a sleeve, again and again”.

“…A raw look and feel of exertion, accomplishment, and intimacy now brims from their faces and bodies”.


OffOffOff.com, Still looking and listening for lifeNew Dance Alliance presents its 32nd Performance Mix Festival at University Settlement, June 14, 2018

“Christopher Unpezverde Núñez performs The sun set twice on the same day in an odd mask of tape, part of a significant subset of Performance Mix performers who keep their face hidden or masked. Here the mask goes with an intriguing performance, and the tape he puts on the rear wall may or may not relate to the tape on his face”.


The Dance Enthusiast, Queerly Contemporary Festival 2018, Cathy Apple, June 9, 2018

“Yo Obsolete,” created by Christopher Núñez is autobiographical. Dressed in red long johns resembling children’s PJs, the dancers successfully embody movement and visual imagery that touches on “gender identity, male stereotypical behavior, gendered toys, fetishism, pop culture, and queer art.” The dance is a visual and kinesthetic collage uniquely integrating movement with a well-developed use of props. This duet in red PJs included flashes of voguing and runway dancing underneath an elegant headpiece that was a large Barbie Doll truck. The dancers’ unselfconscious abandonment simultaneously reminded us of the precious and formative secrets of childhood identity formation, while also serving as an ultimate homage to the present.


La Nación, Crítica de danza: Como en vereda tropical, September 10, 2012

“El programa comenzó con la participación de Christopher Núñez, quien creó e interpretó un solo denominado Obsoleto yo . Núñez también es el responsable de los textos y la utilería.
Núñez, quien ya había participado en esta fiesta de danza, demostró buena proyección en el manejo de la voz y la corporeidad.
Obsoleto yo es una obra inspirada en hechos autobiográficos con elementos del estilo grotesco, que nos da una visión de la niñez desde la masculinidad.
El coreo-intérprete, con sus movimientos y manipulación de la utilería, mantuvo al público interesado en su discurso”.

“The program began with the performance of Christopher Núñez, who created and performed a solo piece called YO OBSOLETE. Núñez is also responsible for the texts and the props. Núñez, who had already participated in this dance party, showed good projection in the handling of the voice and corporality.YO OBSOLETE is autobiographical with elements of the grotesque style, which gives us a vision of childhood from masculinity.
The choreographer-performer, with his movements and manipulation of the props, kept the audience interested in his speech”.


La Nación, Danza de confrontación, Marta Ávila, August 18, 2010

“En la primera escena de “El suicida perfecto”, el responsable fue Christopher Núñez, quien mostró a seis individuos aislados, que se relacionaron mediante círculos viciosos. Núñez recurrió a solos, tríos y grupales, para exponer su tema con variaciones de movimiento dinámico, desarrolladas de forma personal y al unísono”.

“In the first scene of “El suicida perfecto”, the person in charge was Christopher Núñez, who showed six isolated individuals related through vicious circles. Núñez resorted to solos, trios and groupings to expose his subject with variations of dynamic movement developed in a personal way and unison”.