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Improvising

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Boats and boating--Equipment and supplies

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Copia de documento para final proyect (1)

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Un mal llamado 'crimen pasional'. Una novia quemada viva por 'honor'. Una mutilación genital. Una violación de guerra. No se trata de violencia contra las mujeres, se trata de un atropello de los Derechos Humanos. Les sonarán por ser una proclamación de utopías como que "todo individuo tiene derecho a la vida, a la libertad y a la seguridad de su persona" y que "nadie será sometido a torturas ni a penas o tratos crueles, inhumanos o degradantes".

La muestra 'Contraviolencias, 28 miradas de artistas' denuncia el trato vejatorio que mujeres y niñas soportan en todo el mundo a diario. "No es un problema aislado, es un fenómeno que se produce cualquiera que sea la situación geográfica, económica y política", explica la comisaria Randy Rosenberg. Algunas prácticas especialmente cruentas están más extendidas en determinadas regiones (las ablaciones en África, las agresiones con ácido en el sudeste asiático o la quema de novias en Oriente Medio), pero no hace falta irse lejos para rastrear las huellas del terror machista: en los últimos 10 años más de 650 mujeres han fallecido en España a manos de sus parejas.

La exposición, que podrá verse en la Fundación Canal de Madrid hasta el 21 de julio, ha sido organizada por la plataforma Art Works For Change y cuenta con la obra de creadoras como Marina Abramovic (Yugoslavia, actual Serbia), Louise Bourgeois (Francia) o Yoko Ono (Japón). "El arte es una herramienta que permite llegar a la gente a otros niveles", explica Rosenberg. La sucesión de noticias sobre maltratos físicos y psicológicos ha anestesiado al público frente a una realidad dolorosa, pero el arte provee nuevas formas de abordar al problema. "Invita a la reflexión y acerca a la gente una realidad que, de otro modo, quizás no estarían dispuestos a percibir", continúa.

'Untitled'. | © Yoko Inoue

La muestra no se recrea en la violencia. No hay caras amoratadas ni labios rotos. "De una forma poética podemos llegar a contar la misma historia, llevar al público a las mismas conclusiones", señala la comisaria. Las obras representan simbólicamente los agravios que soportan las mujeres en cinco ámbitos de sus vidas: individual, familiar, comunitario, cultural y político.

Sólo dos de ellas son explícitas. La que ilustra este artículo, 'El día después de la violación. Darfur', de Joyce J. Scott (Estados Unidos), y una serie de fotografías de Patricia Evans (Estados Unidos), 'Oculto en un verde radiante, un hombre aguarda. En las manos cegadas por el odio, la oscuridad acecha', una instalación formada por imágenes del rostro lastimado de la artista y del lugar donde fue violada en 1988.

Recorrido por la exposición

'Contraviolencias' nace de dos premisas, señala la comisaria: que el arte tiene un potencial visionario y que los artistas pueden obrar un cambio social a través de su trabajo. Muchas de las piezas expuestas en la Fundación Canal (pinturas, esculturas, fotografías y videoinstalaciones) han sido elaboradas especialmente para esta exposición itinerante.

Abre el recorrido 'El accidente', un dibujo de Bourgeois en el que unas muletas atraviesan el pecho de una torpe figura sin brazos. Un conato de mujer desnuda, inmersa en un túnel oscuro, pero que a pesar de ello sonríe y lleva tacones. "Como tantas mujeres atrapadas en situaciones familiares violentas, lleva puesta una máscara con la que dice al mundo que todo va bien", apunta la comisaria. "Las muletas, que deberían servirle para apoyarse, son las que en realidad le causan el daño", agrega Cristian Ruiz-Orfila, director de la fundación.

Otra pieza destacada es 'Golpeando la calavera', de la serie 'Épica erótica balcánica' de Marina Abramovic. Con el torso descubierto y el rostro escondido tras su cabello, "la artista empuja la muerte contra su cuerpo", apunta Rosenberg. El movimiento y los gemidos, que van ganando intensidad, remiten a las violaciones de guerra. La comisaria señala: "Cuando el cuerpo femenino se convierte en la personificación de una nación, violar a una mujer equivale a violar simbólicamente a toda la comunidad".

De Yoko Ono se muestran dos vídeos de la performance 'Cut Piece', que realizó en 1965 y repitió en 2003. Sentada en un escenario con un vestido negro, los espectadores van cortando trozos de su traje y el cuerpo de la artista va quedando al descubierto. De nuevo el fantasma de la violación, esta vez pública, y con ella la soledad, la humillación y el sometimiento. Heridas, estas últimas, que no se ven, pero permanecen.

La invisibilidad centra la aportación de la coreana Jung Jung Yeob. Su instalación 'Ser #1-15' está compuesta por telas de seda que cuelgan del techo. Figuras desdibujadas de tinta muestran a mujeres realizando tareas cotidianas: hacer la compra, cocinar, llevar los niños al colegio. Roles de esposa y madre que perpetúan las exigencias de una cultura machista que las convierte en seres humanos de segunda. Meros complementos del hombre.

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Un mal llamado 'crimen pasional'. Una novia quemada viva por 'honor'. Una mutilación genital. Una violación de guerra. No se trata de violencia contra las mujeres, se trata de un atropello de los Derechos Humanos.

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"The legacy of nature and blood of the artist whose death is a mystery"

Ana Mendieta died tragically in 1985 in New York, after falling from her 34th floor apartment. She lived in this apartment with her husband, Carl Andre. Prior to her death, neighbors overheard the couple arguing, which led to Andre being charged with Mendieta's death. However, there was a recording of Carl Andre's 911 call, in which he explained the reasons for their arguments; allegedly, Mendieta was jealous of Andre since he was more exposed to the public than she was. In 1988, Andre was tried and subsequently acquitted of his wife's murder, and during three years of court proceedings, Mendieta's death was attributed to an accident or perhaps suicide. Carl Andre was found not guilty and his acquittal infuriated feminists in the art world.

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Criticism of the Anglo-Saxon patriarchal society in which she lived and with which she did not identify, as she claimed to feel like a sexual object, that erotic myth of the Latin woman. In this context, gender violence, abuse or rape are the object of analysis in actions full of violence and (a lot of) blood, turning her own body into a symbol of the victims.

An example of this is 'Untitled (rape scene)' (1973), a piece in which the artist recreates the moment after a violent sexual assault. For this, Ana exposes herself half-naked and covered in blood in front of the spectators in her apartment as a symbol of denunciation of the brutal rape of a nursing student of her faculty.

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Ana Mendieta brought an intimate and distinctly feminist approach to the burgeoning fields of land art and earthworks. In her performances, photographs, films, sculptures, etc., the artist explored the mystical and emotional connections between her body and the natural world. For example, in her "Silhouette" series (1973-80) of "earth body" performances, she lay directly on the earth and made silhouettes.
He would document his footprint with paint, blood or found materials, such as branches or flowers, and photograph the results. His works could be frightening and disturbing, based on his untimely death in 1985.

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This is one of Mendieta's body-based works; she introduces the recurring motifs of blood and feathers. Standing naked against a white background, Mendieta watches a white hen being decapitated. She then holds the body, which is still writhing, while its blood covers her stomach and legs. The sacrifice of the hen relates to the cult rituals of the artist's native Cuba.

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Elles@centrepompidou - Ana Mendieta, Untitled (Chicken Piece Shot #2) , 1972 (Extrait) - Ina.fr

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Extrait de Selected Filmworks, 1972-1981Vidéo, PAL, couleur, silencieux, 2'57''

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Ana Mendieta activates a cultural concept of the body. By intervening her feminine face by gluing her friend's beard, she puts on stage that sexual classifications are social conventions that frame sexualities by overdetermining them.

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I need some context and explanations to understand what you aim to do

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Interesting references... what about your own artworks?

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The link between art and medicine seems appropriate. What about your own artworks? Are you going to work with collage?

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My personal project will be based on photography. In particular, I will focus on the environment and pollution, i.e. the damage that humans do to nature. I focus on this because I consider that it is a serious problem in society, and that no matter how informed we are, we do nothing about it in order to change it. Therefore, my project is going to be a kind of reibindication. My main inspiration is going to be my village, Muskiz, as there is a refinery here that pollutes a lot, and I have been inspired by photos like the following one (see the photo below)

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Nothing to follow up

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How are you going to shape the project? Are you creating a short movie?

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Nothing to follow up

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Unica Zurn and Hans Bellmer. Shape and body distortions can be apprecited in Hans Bellmer Puppes (they are frightning), in artists like Marina Núñez (www.marinanunez.net) Kiki Smith, Louise Bourgeois, Jenny Saville (you have uploaded one of her paintings). I think you need to work and freely experiment with body distortions, trying any material and technique. Experimentation is key. I want to see many more images of the process made by you

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Very good idea that of creating a whole wall for your project. I see an effort to gather many inspiring references on the topic, but it seems like you are lacking confidence to freely experiment and create. Seeing some artists' work and the type of languages and resources they use can help guiding the language of your project (Anna Gaskell, Jana Sterbak, Marina Núñez www.marinanunez.net; Francesca Woodman, Nan Goldin, Judy Chicago, Kiki Smith, Ana Mendieta, Louise Bourgeois, (Video: Pipilotti Rist, Joan Jonas...) It can be performative. Seeing your previous artworks, you could portray your own body or others' interacting with different materials like paper, or plastic, experimenting with light, shadows... A series of images, as well as a performance or a short movie could be of your interest? I would try to go beyond physycal violence, and freely experiment guided by your own sensitivity but having in mind at least an idea of how to convey it all in a more conclusive art piece. Metaphors are visually and intelectually more attractive that explicit content. I would avoid blood, for example. In what other ways could you suggest gender violence? do not try to illustrate it (avoid rationality) try to make viewers feel it by using visual metaphors, textures, gestures, lights, materials, interacting with the body or any other element you decide. Take advantage of this oportunity to create something important to you

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Nothing to follow up

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Very interesting graphic and plastic experimentation. You can take as well a look at: Juliantxo Irujo, Sol Lewitt, Olafur Eliasson, Ellsworth Kelly, Henry Matisse (more recent graphic work), David Hockney, Miró, Giorgia O´Keeffe, Judy Chicago.

It would be necessary to devise a final, conclusive work, rethinking the format (maybe a large scale, or a series) or the technique (painting with other materials, with light..), even creation of an abstract installation... You can as well combine painting and photography with a common thread.. even with video...the idea would be to keep experimenting but starting to visualize how to gather the work in a more conclusive unity. Keep working this way!

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Who are the authors of those images? what are their titles? what do you like from them? Put that in words. One of them (that of the kiss) is based on a painting by Magritte. Besides preliminary ideas and references, what about your work?

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Interesting references but...what about your work?? It has been a while that you decided to focus your project on the theme of dance. What have you done so far?

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In the seminar, after reflecting on the images that I chose, I realized that what caught my attention were pictures in which an object deformed the body. And not only an object, but also hands or other body parts.

Also, I realized that I focused more on "darker" pictures, and on photos that had a very clear message.

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I continued looking for some pictures on Google, so maybe that way I could be a little bit more inspired. Here are some of the pictures that I found:

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Then I created this, following the concept of not really accepting ourselves, because we have not the perfect body according to society.

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This was the first sketch that I created, and this is the idea that is going to lead my personal project.

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MY PERSONAL PROJECT : Gender Based Violence

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MY PERSONAL PROJECT : Gender Based Violence