Gonzalo Escarpa (Madrid, 1977) is a Spanish poet and performer. He holds a Master Degree in Spanish Literature and he worked as professor of Creative Writing as well as in the cultural industry. He held a grant at the Fundación Antonio Gala and worked as coordinator at the Fundación Centro de Poesía José Hierro. He also held the charge of Cultural Promotion Coordinator at the Instituto Municipal de Arte y Cultura at the Puebla Council, in México. Among other projects, he has been curating the cultural presence of Puebla at the Mexican Pavilion during the Milan Expo in 2015 and the project “Madrid como ciudad invitada de honor en la Feria Internacional del Libro de Guadalajara, México” in 2017. He directs the Cultural Action Collective “La Posibilidad” and collaborates with Latin-American institutions advising on comparative cultural policies. He has been coordinating projects together with the Agencia Española de Cooperación Iberoamericana para el Desarrollo, Acción Cultural Española, El Instituto Cervantes or La Noche en Blanco, as well as offering recitals and workshops on international platforms like the Festival Eñe, the Mercado de la Poesía de París, the Piccolo Teatro de Milán, the Encuentro de Poesía Digital de Beijing (China), the Instituto Cervantes de Ammán (Jordania) or the Centro Cultural de España in Mexico, Haiti, Miami, Argentina, Paraguay, Costa Rica, Nicaragua. Ha created tree independent cultural spaces in Spain and one in Mexico too. His training as an actor and a director informs his performative poetry. He has published the anthology Todo es poesía menos la poesía (Eneida, Madrid, 2004) and the poetry collections Fatiga de materiales (Trashumantes, Valencia, 2006), No haber nacido (Delirio, Salamanca, 2008), Mass Miedo (Arrebato, Madrid, 2008), Coda de cada década (Ultramarina Cartonera & Digital, 2017) and España (La Vorágine, 2017). His are also the handcrafted La solidaridad de la saliva (La Posibilidad, 2016 -2017) and the “poetry-objects” mcetpm (Trashumantes, Valencia, 2008) and Poema muy bonito (La Conservadora, 2016).