performance piece is composed of two different events. One is a drawing that
will take place using my body as the sole measurement to apply the paint in the
wall. The piece talks about my desires of exploring the concept of living in a
world where females has a stronger value, a stronger influence…where some of
the values that women share inform the world that surround us.
part of this piece allows the audience to be part of the drawing using their
body shapes and height to mark the walls.
"Déjame hacer las reglas", 2017
“Let me be the
ruler”, es un performance en la que la artista dialoga con el concepto de
canon, explorando su propio cuerpo como instigador de la pieza en un movimiento
constante. El cuerpo femenino como molde para una posible imagen del futuro.
Siguiendo con una serie de performance en las que la artista se sitúa junto al
feminismo como pensamiento motor del trabajo y de la utopía de un futuro más
“Borradas” es una performance que se encuadra dentro de un proyecto más extenso de la artista denominado la “Manos escondidas” que hace referencia a la invisibilidad de la mujer en la Historia. Para esta pieza la artista trabaja la violencia que supone el hecho de borrar a las mujeres de la historia y negarles el reconocimiento a sus aportaciones al desarrollo de la Humanidad.
SECRET, a public art intervention, addresses the deep silence that exists in
our society with regards to sexual violence. Statistics of
sexual assault and rape from around the world are alarming and only a fraction
of these acts of violence are reported to the police. Victims and
survivors offer different reasons for their reluctance to approach an authority
to report this most personal of crimes – fear, mistrust, shame, guilt, pain.
All over the world, these invasive assaults take place without outcry, hidden
under the weight of hundreds of years of patriarchy.
SECRET brings to the streets this secret kept in our societies, the secret of a
terrible violence against women through the act of the rape and assault.
The first public presentation of this piece
was performed in Spain and denounced the 1289 reported rapes that take place in
the country every year. Men and women went into the streets and silently held
together 1289 pieces of underwear.
October 2016, DARK SECRET will travel to Toronto, Canada. The
silence will be broken, a quiet stoic rebellion that invites the public,
allowing them to look and to deal with this old and terrible form of violence.
Through this hanging action we appreciate that the statistics often
does not show the reality of the number. In this opportunity, we will
hang 1890 underwear, the number of sexual assaults reported annually.
mesa was born in Canary Islands and moved to
Toronto in 1996 where she studied at the OCAD graduating in 2002. Her work has
been exhibited in Spain, Japan, Korea, Mexico, Cuba, Canada, Brasil,
Serbia, Germany, France and Switzerland.
Considered a multidisciplinary artist,
her works move between installations,
performance and public interventions. Her pieces are a response to her
surroundings that become dissected and reconstructed in a new narrative that
exposes whatever that triggers her in amusement or disgust. She has an interest
in drawing as a medium of communication that is less charge than painting and
her practice is often based in an observant and humoristic approach. She
explores areas of semiotics and the art practice, identity, nomadism,
migration, feminism and the hybrid and
changing state of contemporary culture. Starting from the point of considering
the increasing aesthetization of life, where the object is send toward
consumerism, the actions become a way to rebel against the absolute domination
of economical value. Meaning, significance and other type of values are in
jeopardy. She can be consider a socially engaged artist. She is a member of
daily services and art platform based in Berlin. Since 2004 rosa works between
Spain, Canada, Germany and Switzerland where she has been doing several art residencies. Today
she lives in Las Palmas, Spain.
Actividad incluida en el programa de la Bienal Miradas de Mujeres 2016 organizada por MAV
Missing is the first of a number of projects dedicated to bring to public awareness the role of women in different communities all over the world. The public intervention consists in posting all over a town(in this case Hamilton) posters of a woman, asking if anybody knows who she is. A web site with an explanation about each woman is provided. The project serve as a way to generate awareness about important women in their communities as well as to have a statistic about how much people in the community really know about their existence and achievements. The idea is to open up a dialogue about why women work has gone unrecognized or underestimated and if there has been changes in this situation in the last decades.
In this piece to
be realize in Hamilton Ontario on October 11th the female character will
be Elizabeth Catherine Bagshaw, physician (b near
Cannington, Ont 18 Oct 1881; d at Hamilton, Ont 5 Jan 1982). She had a
successful 60-year medical practice after graduating from University of Toronto
(MB) in 1905, but is best known for her 30 years as medical director of the
Hamilton Birth Control Clinic. Cheerful and courageous, she accepted the post in 1932 despite opposition from medical colleagues and local clergy and worked with dedicated volunteers to provide Hamilton women with inexpensive and reliable contraceptives. Bagshaw received numerous honours throughout her long life, including an honorary doctorate from McMaster.
This project is the second presentation of the piece Trapos sucios that took place in Spain in 2015. Here is the background on it. Next presentation in Toronto.
When we use the expression “Trapos sucios” in Spanish it relates in one hand to dirty clothes and in the other to secrets…secrets that you do not want anybody to know. The first presentation of this piece in Spain denounce the 1289 rapes that take place in the country every year and that have been communicated to the police and certified for a doctor. The experts believe that they are much more and that this number do not reflect the reality.
The silence of all the women that for different reasons (shame, guilt, pain, fear…) could not make a complaint is broken by the ones that can make it. Al over the world this negligible actions take place without a real outcry, hidden under the wait of hundreds of years of patriarchy.
Trapos sucios bring to the streets the secret keep in our societies, the secret of a terrible violence against women through the act of the rape. Trapos sucios take the streets to demand to the society to deal with this old and terrible form of violence, to be more aware of this serious problem and more action from our goverments to end once for all with this horrible practice.
Citizen participation has a lot to do with the ways we understand democracy and culture. Participation is much more than to vote periodically. It involves to create ways to allow the citizens to have a say in what is going on in their society allowing some empowerment. Once empowerment begins to grow we realize that we do have actually a voice and that we can change the things that happen around us.
This piece is a metaphor to that power we have, transparent but strong.
La participación ciudadana tiene mucho que ver con las formas en que entendamos la democracia y la cultura. Más allá del concepto simplista de votación cada cuatro años, la democracia implica un entramado estructural que permita el acceso de la ciudadanía a estructuras que permitan su empoderamiento. A medida que desarrollemos esta sensación de empoderamiento llegamos a la conclusión lógica de que nuestros pensamientos e ideas son de interés para los demás y que a través de ciertos mecanismos podríamos llevarlas a cabo. El sistema actual de democracia carece de esta estructura y se ha ido deformando para alimentar a una oligarquía arcaica y avariciosa que pone en peligro la mismísima existencia de la vida en nuestro planeta.
Si bien esto parece descaradamente lógico lo cierto es que las clases oligárquicas han negado esta posibilidad fomentando la creación de la idea de que sólo ellos están preparados para la labor de gobernar utilizando el rancio discurso del miedo y aprovechando las estructuras implantadas a través de la religión por el monoteísmo un funcionamiento jerárquico obsoleto que suele derivar en comportamientos corruptos. En nuestro país con una carencia estructural de procedimientos democráticos, amplias estructuras religiosas y con vestigios de una dictadura de casi medio siglo este procedimiento de democratización pasa por crear de la nada.
En esta pieza de intervención en el espacio público queremos durante quince minutos trasladar a la calle el clamor de lo frágil de lo transparente del cristal…la voz de un barrio que sonara, sensible y acompasada pero también potente y resilente invade todos los espacios.