Concluding with this, that having no access and no right to decide what to do with your life, can make us finally take a huge wrong decision. There is one life, your life. The state nor the church can interfere in your decisions. Today I developed a research project that has to do with gender studies in relation to Latin American performance in resistance. I find myself doing the master's thesis performed in combined artistic languages (LAC), in the National University of Arts (UNA) and participate from this year in PAPO, Art and Politics in LPEP La Paternal
Espacio Proyecto, both in the city of Buenos Aires, Argentina.
Could you identify a specific artwork that has influenced your artistic practice or has impacted the way you think about race and ethnic identity in visual culture?
Yes of course. Appeals to me the genre of performance (and I would say in almost cases). Nowadays there are many networks which I consider as part of a referential landscape that we can have with the upgraded look that social networks and information portals can provide (which are increasingly through internet). n Argentina, the work of Celeste Fresedo (Junin), Santiago Cao (Buenos Aires), idana Rico (Venezuela living in BsAs). From Chile, the work of Pedro Lemebel Santiago), Elizabeth Neira (Valparaiso), SenoritaUgarte (Santiago). Brazil, Priscila avanzo ́s work and also Paulo Nazareth. In Bolivia the feminist art group Mujeres reando. Mexico’s work Elvira Santa María and (ofcourse) the work of Monica Meyer. n Guatemala Regina José Galindo, particularly the latest one carried out in Chile Deserts 2015), although not considering herself as an “activist”, she seems to work rom a place of fragility and obsolescence that interpellate, stimulate and therefore mobilizes. An important reference for my work was Maria Teresa Hincapié (1956 -2008), Colombian performance and visual artist of the 80’. I could go on but I think I named an interesting mixture. In Latinamerican script, Pedro Lemebel, Chilean poet and performer who also had a political and activist participation in the dictatorship leaving a legacy till nowadays. Silvia Rivera Cusicanqui (Bolivia) with a decolonial thinking which moved away from what is known as "mestizo" in addition to a comprehensive study about the sociology
of the image across the spectrum (founding of all arts, what we are from the “other” which is next to us). In film, the director Thomas Ostbye (Norway) with his film Imagining Emanuel (2011). The saga made for Al Jazeera by Fermin Muguruza (Basque Country) called “Next Music Station” (2010- 2012), touring various Arab countries according to their culture and counterculture fusing the music, arts and other disciplines. Of Argentina caught my attention a short film called "Constitución" (2013)of Jimena Cantero and Natalia rdissone. Gustavo Galuppo and Carolina Rimini (Rosario), within the narrative and lot in film/ experimental video, showing content and reflection.
It is impossible to avoid the topic of body consciousness, embodied emotions and the image of body that we see in your practice. What is the function of the body appearing in your artworks – is it a canvas used to present your ideas or rather the subject of the art? What inspired you to use body in your practice?
I believe that the body is a principal foundation of any artistic work. This is something hat absolutely crosses all cultures, races and all the rest... Within the artistic work and he body inside, it creates a direct confluence and renew the conviction about what e want, as the 70’ artists did with art and life. n the video that concerns me "Velamientos" (2016), it would be the body that would e absent in the landscape and only the voice would be present. (The whole soundof the short film was recorded with a cell phone). However, the body would be behind the camera subsidized by the glare and cutout, even more by edition. The body itself is fragmented and spread by the voice of Melike Yasar, generating a language from an ethereal substance by the fact of the translation of her partner and English subtitles (which intentionally form of the subalternal landscape).
This component of language implies a direct relationship of what you name to make it visible, make it appear, make it real. Make visible violence, human rights and basic needs of women, along a calm and invested landscape of a distant place called Chile.
Marina Abramovic stated: You see, what is my purpose of performance artist is to stage certain difficulties and stage the fear the primordial fear of pain, of dying, all of which we have in our lives, and then stage them in front of audience and go through them and tell the audience, 'I'm your mirror; if I can do this in my life, you can do it in yours.'
Can you relate anyhow to these words?
ons and the image of body that we see in your practice.
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