>>> RESIDUA (N.PL)
Photo above: documentation of the performance Desvanecimientos by Pablo Martínez Muñiz
Feminine subjectivity has been a dominant subject of interest depicted in all my previous works of performance art since 1996.
In my former works under the alias Residua (n.pl) the central idea was one of art as experience rather than as representation, an on going interest has been the depiction of a subjects dissolution via conscience processes such as treating oneself as nothing more than an objected, pushing the physical tolerance of the human body in an attempt to expand self-consciousness overcoming physical pain.
These performances were an expression to exorcise personal demons within, responding to a patriarchal and undesirable reality. Dissolution of the ego, hysterical behavior and the notion of a pre-oedipal nostalgia were subjects of interest expressed through works in various mediums.
In the videoperformance Why don´t you love me?, (Istanbul 2002), I played with my own past crisis experiences, understanding them as a personal response to the patriarchal world´s order; linked to Lacan´s and Kristeva´s theories who thought that mental diseases are organic defenses faced with an insufferable environment or context.
In the video piece In Girum Imus Nocte (Valencia, 1998-2008) hysteria is exorcised through repetitive rotations within confines of a bathtub, a single female performer driven by pre-oedipal nostalgia attempts to experience the dissolution of the ego. With this video I have started editing the old VHS videos documentation of my former performances, using the video as a way of expression itself and not only as a documentation of the performance piece.
The street performance Desvanecimientos ( Istanbul, 2002) is part of a serie of works called Fainting Fits started in 2001 in London (Liverpool St. financial center) about the idea of ego´s dissolution, loosing myself like an individual in an improvised fainting fits choreography performance. With these repetitive falls down on a long time, I tried to experiment and prove the fusional tendency through the processes of generation of feminine subjectivity (taking the female faint like reference as a sort of mystic rebellion). xxx *The next of this serie is planned to be filmed for September 2009 at the Maastunnel in Rotterdam. In the storyboard/script in progress Tabula Rasa (Istanbul, 2004) I wondered about the predisposition of the feminine unconsciousness to escape from constrains of identity. In this work, composed of texts and minimal actions, the duplication of the image let us experiment a feeling of oddness. While the unreal aesthetic takes us far away from the individual identity logic. The text worked like enigmas posed by sphinxes which ask us indirectly about the nature of representation and the non representable experience. x *This script will be filmed in 2010.
+ photos and videos at www.theunifiedfield.net
Next: The Unified Field (in collaboration with One Man Nation)
A detailed list with further explanations of my performance art work is about to come.
.Theater Play: Teselas
.Theater Play: Becketia
.Performance “Rara Avis”
.Performance-Instalation “Ofelia 500 mg .nº 1”
.Performance- Instalation “Ofelia 500mg.nº 2”
.Performance “Involución-Regresión”
.Performance- Lecture “Ay Kant!”
.Performance “Existe la posibilidad”
.Performance “ Existe la posibilidad de perder la noción de peso”
.Performance “Yo no soy Madamme Curie y sin embargo…”
.Performance “in girumimus nocte et consumimur igni”
.Performance-Instalation “Anestesia”
.Videoperformance-Public Instalation “Regresión puede ser historia”
.Video-Performance “Madre serie Prozac”
.1 year performance: “Óvulos”
.Performance project in power factory “Tránsito”
.Land Art project-Action in an iceberg: Analgesia
.Performance in progress “Desvanecimientos / Fainting Fits Series”
.Photo-Performances “Hysterical Ladies”
.Photo-Performance “Eternal Unsatisfied”
.Video-Performance “The Unabomber´s Infinite Sadness”
.Video-Performance “Why don´t you love me?”
.Performance-Story-board (Script in progress) “Tabula Rasa”