Havana, November 2016 – February 2017
This artwork moves among theater, performance and exhibition and explores biographies of anti-model female bodies, not regulated by the media image pattern.
We are a multidisciplinary team made up of a “Collective Voluminous Dance” ballerina, two playwrights-directors, four visual artists/performers (one of them, invited from Colombia), a sociologist/expert of life and a man (THE BUTCHER).
The investigation is documentary and collective. It reveals testimonials, life stories and elements to build the actions, installations, scenographic objects and the text, inspired in turn by the work of Elfriede Jelinek and the photographers Cindy Sherman and Sarah Lucas. It has been presented in a gallery, a “clinical” space that resizes the exhibition quality of the female body, supported by the media empire.
All these presences, thus, emerge as the flesh-metaphor of the bodies of real women who disagree, who strain that empire. This is a gesture to emphasize the tension. The bodies are ironic, playing with themselves, and are sarcastically exposed in an exhibition space as art objects. As cows going to the slaughterhouse, and then to the supermarket.
Maylin Lázara Padrón
Texts and direction
Karina Pino Gallardo
Julio Llopiz Casal
Invited visual artist
Photographic and audiovisual documentation
Amaya Oria Portuondo
Gallery D Nasco Art (Havana, Cuba)
Project supported/granted by the Call for the promotion of cultural projects in Cuba. Embassy of Austria and Embassy of Norway in Havana.
El cuerpo de Nora no es solo ella, by Laura Ruiz Montes (review)