Performance duracional realizada en el CAAM (Centro Atlántico de Arte Moderno)
Performance: “Los olvidados” 2018
La Humanidad ha evolucionado constantemente, con mayor o menor éxito según las épocas, hacia una mayor tolerancia y respeto. En nuestra tradición histórico-cultural tenemos sin embargo tendencia a recordar las guerras y los desastres de forma generalizada y a veces se obvia la celebración y defensa de hechos o eventos que prueban el deseo del ser humano de mejorar y alcanzar una convivencia pacífica y armoniosa.
Para la sociedad que sobrevivió a las dos guerras mundiales, la posibilidad de una destrucción masiva y cruel de millones de seres humanos fue una realidad difícil de digerir y más aún de explicar y motivó no sólo cambios sistémicos en la sociedad y la cultura sino como todos sabemos también en el arte( no es casual que el Dadaismo y posteriormente el postmodernismo evolucionaran de sus cenizas). La Declaración Universal de los Derechos del Hombre responde a un deseo de no repetir la barbarie de esa época. Sin embargo su contenido es hoy arrastrado por gobiernos, organizaciones y todo tipo de conglomerados que o bien han olvidado la historia o pretenden borrar un texto que les pone unos límites que no les interesa reconocer. Esta pieza plantea al modo de cueva de Altamira la creación de una pieza de performance duracional que transcribe el texto de forma compulsiva y metódica, a medida que se escribe el mismo material, efímero, con el que se inscribe irá deteriorándose, cayendo, olvidándose…mientras la artista lucha por dar firmeza y cuerpo a un texto que desearía tuviera más valor.
El texto que transcribimos tiene una adaptación hecha con la colaboración de Elena Navarro (abogada) y la mía misma (Licenciada en Derecho) en la que pretendemos refrescar el texto recogiendo temas como la igualdad de género y excluyendo posibles lacras como el racismo.
Performance: "The forgotten ones" 2018Humanity has constantly evolved, with greater or lesser success towards greater tolerance and respect. In our historical-cultural tradition, however, we tend to remember wars and disasters in a generalized manner, and sometimes the celebration and defense events that had proved human being's desire to improve and reach a peaceful and harmonious coexistence are overlooked. For the society that survived the two world wars, the possibility of the massive and cruel destruction of millions of human beings was a difficult reality to digest and even more to explain and prompted not only systemic changes in society and culture but also as all we also know in art (it is not by chance that Dadaism and later postmodernism evolved from its ashes). The Universal Declaration of the Rights of Man responds to a desire not to repeat the barbarism of that era. However, its content is today dragged by governments, organizations and all kinds of conglomerates that either have forgotten the story or try to erase a text that puts some limits that they are not interested in recognizing. This piece presents the Altamira Cave concept as the space of a modern space to create a durational performance that transcribes the text of the Fundamental Human Rights * in a compulsive and methodical way, as the material is written, its ephemeral quality speaks about the fragility, it will deteriorate, fall, and be forgetten ... meanwhile the artist struggles to give firmness and body to a text that she wishes would have more value.*The text we transcribe has an adaptation made with the collaboration of Elena Navarro (lawyer) and my own (Law Degree) in which we intend to refresh the text by collecting topics such as gender equality and excluding possible dangers such as racism, colonialism...
Performance: "The forgotten ones" 2018Humanity has constantly evolved, with greater or lesser success towards greater tolerance and respect. In our historical-cultural tradition, however, we tend to remember wars and disasters in a generalized manner, and sometimes the celebration and defense events that had proved human being's desire to improve and reach a peaceful and harmonious coexistence are overlooked. For the society that survived the two world wars, the possibility of the massive and cruel destruction of millions of human beings was a difficult reality to digest and even more to explain and prompted not only systemic changes in society and culture but also as all we also know in art (it is not by chance that Dadaism and later postmodernism evolved from its ashes). The Universal Declaration of the Rights of Man responds to a desire not to repeat the barbarism of that era. However, its content is today dragged by governments, organizations and all kinds of conglomerates that either have forgotten the story or try to erase a text that puts some limits that they are not interested in recognizing. This piece presents the Altamira Cave concept as the space of a modern space to create a durational performance that transcribes the text of the Fundamental Human Rights * in a compulsive and methodical way, as the material is written, its ephemeral quality speaks about the fragility, it will deteriorate, fall, and be forgetten ... meanwhile the artist struggles to give firmness and body to a text that she wishes would have more value.*The text we transcribe has an adaptation made with the collaboration of Elena Navarro (lawyer) and my own (Law Degree) in which we intend to refresh the text by collecting topics such as gender equality and excluding possible dangers such as racism, colonialism...
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