For the second time, we present at Isabel Hurley Gallery a series of pieces of action art. In this case, and because numbers vary, we will have between seven and nine performances; if we want to call it like that. Some will have an interface, while other will be totally live. The origins of their authors are diverse, Spain, Brasil, Italy, as well as their gender and age. We are not fascinated by details but biopolitics and its consequences are really close to us, the circumstances registered in the body talk even though we want to abstract from what matter tells us.
Each author, with a different origin and background, brings us a distillate of their incipient performative work. Here there is no frame that “save” us, here art is proposed, not exposed or imposed, because we don’t believe in that. We will share a moment, we will “dance” together and then authors and spectators will go back home, or somewhere else. Something will have happened, something that will remain in our retinas and who knows if even in our consciousness. They say that retina belong to Central Nervous System… ¿why not? But of course, it is not a retinal art, performance is an instrument, a tool, a gadget that touches our body everywhere, that touches our minds and our emotions through other mechanisms.
I wont eviscerate their actions, the authors give us little clues in their brief texts that we can read below with the charm of their linguistic differences in some cases and with the intention of leaving an audience who doesn’t understand, doesn’t know and can’t decipher their work. Their actions are indecipherable because there are not a number, they don’t correspond with a coding that needs to be explained. We have to share what happens there, get to the bottom with them. Performance is a genuine way of living the experience, from within and from outside; from everywhere we received and in every part rubs.
But we should not be mistaken, this is an experience which doesn’t arise from the absurd, from the whim, as it used to happen in the past. Here actions are felt and thought; body movements are articulated with the flow of thinking. Nobody dominates because we are all dominated, no matter if we want or not. Fragility of actions and its authors is what bring us closer. Come, dance with them, share your tremors, come to join us in this journey that will take us far away in a few minutes and in which doesn’t lead to any destination.
Monica Coster (São Paulo, Brasil, 1995)
.A night in Málaga
Performance: via streaming
A night in Málaga is a “live performance”, broadcasted via streaming from Río de Janeiro, Brasil. During the session, while we are looking at the screen, the performers: the artist and her partner, broadcast their visit to Hotel Málaga, located in the same neighbourhood of the Brazilian city where they live, and used for trysts. From the moment they enter the building, at the beginning of the action, the performers enjoy its services and facilities, sharing with us whatever might happen during the following hours of the session. The sexual suggestion that surrounds the name Málaga, the duplicity of the facts, the city reviewed as motel room: what can we do in Málaga? How can we inhabit at the same time both Málagas, discursively interconnected by the unpredictability of permanence and streaming?
Luiza Schaefer (União da Vitória, Brasil, 1998)
The work, recorded and presented in mp4 video file, was conceived as a live performance, but because of the distance between the place the artist currently lives in and the subsequence displacement impossibility, she adapted the piece to a video in order to be part of the event.
Like the rest of her works, performance is a line that penetrates her body, her feelings, her frustrations, her intimacy, in consequence. Great Artist is a performance that talks about the troubles of being an artist, since nobody, except from artists themselves, know how difficult is not only becoming one but feeling one, look at yourself as such.
Azahar G. Castillo (Torremolinos, Málaga, 1996)
The union between women is increasingly stronger, more powerful, more real… We are one, and we are unique. Our bodies are perfect instruments of life, they are beauty, love, strength, soul, passion, they are the beginning and the end… they are life.
Our bodies are more than we think, they are not just simple figures, but they go further. They entail the capacity of transmitting, communicating, seeing, feeling… we don’t need anything else, words are left behind this expression. The simplest relationship between both of them in this performance is able to say much more than what we are here reading.
Celia Mesa (Málaga, Málaga, 1995)
Silence is and at the same time silence is not silence… Your mutism will be decreased by my silence, I want you to know it because my silence is not among the common kind, but it is very special… And when you do it, you will realise that living with it is what you will never achieve, because silence is mine and only mine.
In this performance Marta Jurado will come along me, she knows my silence, she understand it, she accepts it, but she doesn’t feel it, because silence is mine and I cannot share it. Only I and I, because it is my silence.
Alicia Pérez Cobaleda (Málaga, Málaga, 1998)
For a long time, we have carried weights that grow little by little at our expense. I don’t even remember when I became aware of mine, I only know that I am tired of carrying them and having to fulfil stupid requirements to have the great honor of keeping such a huge burden. Maybe egoism is the reason, due to self steem or just to laziness, but I don’t want to be swayed by them any more, whatever people say, even If I have to pass them to someone who doesn’t even know what is to come, but perhaps they asked me?
Stefano Regosini (Desio, Milano, 1997)
Performance is connected with an enraptured celebration, a liberation of senses and mind, an exalted flagellation that aim to reach the artist’s self-discovery.
This artist’s second performance investigates the importance of non verbal language and the complexity that it can gain when is tied to a symbolic frame.
Olivier BuDí (1982, San Fernando VI, Chile)
Tension (in concert)
Maybe it is about composing… in this case two ideas in one. A corporal and artistic tension is proposed. Will we have a concert? We won’t anticipate to the development of the piece. Someone will remind us that other artists came up first, yes, of course, but never to the same place. Each of us is unique and tension is deposited in all of us. So watch out.