- Andrea Ruiz
- Silvio de Gracia
- Dpto 6 colectivo multidisciplinario
- José María Miranda Pérez
- Martín Molinaro
- Manuel Pascual
- José Pizarro
- Andrés Torregiani
- Paulina Viale
- Marcus Vinicius
- Fred Weninger Matayoshi
- Federico Álvarez
Vision of art
1. Choose a work that represents you, describe it in relation to its format and materiality, its relation with time and space, its style and theme; detail its production process.
“Negociación” is a series of performances that I did in 2007/2008. It was developed in a Red Zone of transgenders, in Córdoba. This micro-context is, as well, the door of my house. The “Negociación” project doesn’t have a process or a lineal development. In a field of pure experimentation, I transfer certain semiology concepts referred to the social-conduct behaviour to my own body. I “iconize” myself, I use my body as bate, as a bio-code… The mere act of standing up (I stay-wait-look) in a Red Zone, is a fragment of a conduct sequence of practising the prostitution. My body as the operator of the negotiation. A significant body inside a complex web of re-sending. A given behaviour is responded with a sequence of the same behaviour. An offer is responded with another offer. Body + language: The change of offer, The Negotiation. There’s a discrimination that takes place between the conduct that has to be obeyed (change of offer) and the context where the conduct id being taken place. In this way, it is possible to transfer a same type of behaviour to new situations and the same happens the opposite way: in a given situation deploy different behaviours. There is a before and after of the language intervention (dialogue-negotiation). Mi negotiation consists in offering the “casual clients” to take a picture of them, a portrait, and hand them over within a week. Demand-sex (for money). Offer-photograph (for photography). The resulting documentation consists of videos (taken with hidden cameras) of the moment of the negotiation and pictures of the previous instant and pictures that are the result of the negotiation (portraits).
2. In general terms, how would you suggest to approach your work?
On one hand, the presence of the body in the inter-actional and unrepeatable moment of the action itself, of the event itself. The tension and the potential energy of the body when it lives its relationship with the space, time, the objects, the unprepared look of the other… and on the other hand, “what is left” of that first moment, the record: the documentation of the performance, never a stranger to the territory of the media, always subordinated to its codes and languages. I prefer to suggest in the second moment. To show my work documentation, so that whoever looks-listens-reads it, can recover or in a way approach that unprepared look, devoid, unprejudiced of whoever could appreciate it in the street. My performances are quite experimental. I believe more in the delicate actions than in those that can suddenly appear to be a tiny circus of attraction. For instance, to walk smiling for hours among many stone faces… that is… that’s like small political actions that can be so daily common and can barely change small situations in specific micro-contexts… I prefer what’s delicate against what’s obvious, and I prefer the occasional alert “viewers”, and therefore alive. We all have, with no exception, our own intimate and private performances… and in the public sphere we carry them out even though we are not 100% aware of it.
3. In reference to your work and your position in the national and international art fields, what tradition do you recognize yourself in? Who are your contemporary referents? What artists of previous generations are of interest to you?
Mi artwork has nothing to do with positioning itself in those fields. Tradition… even though I search for one, I don’t recognize myself as part of a tradition; that’s why I named my blog as I did, in that sense, it makes reference to the water lily (aquatic plant that grows in stagnant or slow current water, and has weak roots). My actual project could be placed in the trendy “relational aesthetic” artistic movement due to the fact that my work is being done in collaboration with different action artists of several countries. But more than relationships-similarities, I’d rather talk about Bonds, because my encounters with the artwork of the “other” is subject to the absolute difference, the link is what’s absolutely singular and unthought-of. It’s what emerges from random and the game of strangeness. The experience, the action and the link are what appears when the body is being affected. My performances speak about the use of the body from the bonds it establishes and from a regime of meanings installed in habits. My artwork emerges inside unclear outlines, but has a lot of those three incomparable methods of the Bond: interaction, exchange and solidarity. Cocktail of milestone-referents-inspirational past and very present people: pictures of my great-grandfather and grandfather, the drawing and poetry of Moebius, Maya Deren, Pierrick Sorin, Joan Jonas, Martha Rosler, Cyndi Sherman, Valie Export, Marina Abramovich, John Cage, Gary Hill, Bruce Nauman, Sade, Bataille, Joyce’s Ulysses, The One Thousand and One Nights, Bergman’s films, Jorge Bonino, Felix Guattari, La Teología de la Liberación of Leonardo Boff, Chi Nei Tsang, Taoism, Gilles Deleuze, Gilles Deleuze, Gilles Deleuze... My very contemporaries: the Swedish action artist Henrik Hedinge, Jaime del Val and his Colectivo Reverso, I love Los Torreznos, Francis O'Shaughnessy, Carlos Monroy ando f course, the promise child of the action art in Spain: the complete Mariokissme!
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
I’ll think about the past 10 years and I’ll think about Córdoba. I’ll think about the management jobs as an artwork. I’ll think about certain spaces as artwork, Then: Cielo Teórico, a space devoted to aesthetic and reflection on visual arts. Co-directed by José Pizarro and Andrea Ruíz. - The “C Files” of Mariana Robles. - The cromoxilografías of Fabián Liguori. - The live performances with Gary Hill himself in Caraffa Museum. His video-installations. - The videos made by Bill Viola, as well in the Caraffa Museum. - El Cíclope Art Space. - The exhibitions Luna de Megumi and Oulgireec of José Pizarro. - The series about Bonino in the CCEC, held last year. - The Papá Noel project of Andrés Torregiani. - The Híbrido y puro series about the role of the curator, coordinated by Andrea Ruíz in the CCEC, held last year. - The exhibition ¿Es bueno que haya soledad bajo los árboles? (silencio) of Nicolás Balangero. - Regina Galindo’s visit, her performance and her artist’s studio in the CCEC, coordinated by Soledad Sánchez. - The project Residencias Córdoba, curated by Aníbal Buede. - The Museo de la senda peatonal from Dpto 6. - Demolition-Construction. Performances of Regina Galindo, Soledad Sánchez + Andrés Asia and David Karma Pérez.