Thousands of years before making the body conscious, the body was already there. In fact, it is the body, physical, atomic-anatomical, that supports and allows, simultaneously with evolution, to make conscious, among all the things we manage to perceive, one's own body. Such a revelation would seem a paradox, culturally speaking, because the common inversion of precedence is the result of one of the infinite human ingenuities rationally constructed. The thing is that, ontogenetically, as part of the socio-cultural construct, as soon as we have use of reason, we see the body as civilization teaches us to see it, from a prefabricated format: skin, taboos, sex, fetishes; and, in this adulterated order of things, it exists because we perceive it.
With a present body, it is closer to a social reading of the phenomenon, of "showing one's face", of exposing oneself as the protagonist of a discourse X, because it is the artists themselves who performatize their photographic discourse, involved beforehand with their curators. This brief visual anthology, which brings together works by Alejandra González, Daniela Águila, Lisandra López, Katiuska Saavedra, Khadis De La Rosa and Yanahara Mauri, shown in La Nave, uses the image of the body, their bodies, really or virtually intervened, to dialogue on various topics that laceran, sometimes twisted, human nature.
Already clear to any dilettante or art student, the human figure has been an expressive spring with prehistoric antecedents. First naked, since there were no social complexities in its origins to have to hide it, and later undressed of its obligatory attire, the natural representation of the body has reached the contemporaneity as a genre, visual-audiovisual and scenic-dancing, that has occupied all the permissible enclosures where it has been able to be installed. Historically, the fact that Judeo-Christian culture, the cornerstone of Western civilization, demonized it as a basic ingredient of sin, has given added value to the nude.
Still today the curiosity of many people pays to see someone encueros, in a world where everyone is dressed. The artists, those apparently "ethereal" beings (not necessarily heteros), have known how to take advantage of this civilizing fissure. Beyond the intrinsic beauty of the body, when the creative surprise and honesty hit the target with a necessary nudity, to aesthetically point out some particular that implies such emphasis, and as a result of a semantic re-play, this hardly takes prevalence in the speech, serving only as a vehicle. Of course this is no easy task, and many confuse the authenticity of this casuistry procedure with a recipe that unfailingly leads to success. It would be like assembling a pizza, applying for it the most varied repertoire of flavors, on a base..., or body, which rarely undergoes mutations.
Marina Abramovic, Cindy Sherman or Cuban-American Ana Mendieta, examples on the contemporary international scene, who have explored their bodies to the point of satiation, or Marta María Pérez, Tania Bruguera and Cirenaica Moreira, in Cuba, to name but a few women, are consecrated precedents of a way of exploring their bodies as a support for socio-anthropological manipulations, making use of complementary objects and elements of an extremely organic identity, in very propitious generative junctures. Thus, except for the use of digital technology, virtual interventions of images, well-purified computerized editions, and a subtly renewed nuance in the invoice and the topics addressed, this sextet has followed a very difficult path to travel, trying not to step where others have done. It is obvious that this is something that is not ignored by their managers, as Miguel Ángel García Piñeiro, curator, together with Clarisa Crive, said of this exhibition: "The physical possibilities of manipulating the bodies seem to have already been discovered" (...) "De Cuerpo Presente moves through this terrain of quicksand and rides at will with security and firmness".
Had it not been for a couple of loud speakers with music by Whitney Houston, in the courtyard, and the lack of an air conditioner inside the exhibition site, elements that did nothing for this proposal, the inaugural evening would have been a little more decorous. I don't think these creators of formation deserve a Sunday activity from Casa de Cultura, on a Friday afternoon, for a ceremony of another standard.
By: Amilkar Ferias Flores
Palatine Entropic Observatory / August 10, 2019, 03:50pm