Performance art
When I execute an action, I always build the characters of that action, and although they embody autobiographical facts, I always take care to build them as
theatrical characters. |
Señor (a), 1997: was a performance that arose from the discrimination that the women artists experienced in the "Ciudad de Medellín International Art Festival" by physically separating them into a specific room and granting them a prize of a lesser amount than that of "New Values in Art" or "International Artists". Four women artists, Paola Rincon, Zubaida Bother, Beatriz Vahos and myself, as "mail women" distributed some 3,000 letters among the public, and made 16 different mailboxes, marked with the name of social groups discriminated by society, such blacks, indigents, prostitutes, immigrants, indigenous, and especially the "Colombian creators", (the group discriminated within the festival).
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Performance to the wax and the lost time, 2005-2006:
In this action I recorded photographically every day of waxing, once a month for four years and kept the wax bandages that collected most of my hair. On stage in front of the audience, I waxed off those hairs that "left" my body for the theatrical representation of "the feminine".
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Revuelta, 2007: in the year of 1962 my grandmother arrived in the city of Medellín displaced by the violence in the fields of the coffee growing zone, in Colombia. She had eight children with her, a wounded husband and a china cabinet. In 1990 I made my first turned ceramic ware to display in that cabinet. Revuelta (2007) was a performance in which I took the pieces displayed in my grandmother's cabinet, and broke them one by one against the walls and floor of the gallery. I then proceeded to rebuild them randomly as a therapy for emptying my body and memory, revising and re-turning my story, and showing ways of finishing and beginning, arming and disarming, destroying and building.
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