https://www.m-arteyculturavisual.com/2023/05/16/un-aguacero-ciclo-de-performances/
https://mav.org.es/mav-dia-internacional-de-los-museos-ciclo-de-performance-un-aguacero/
Do you know this photograph?
Do you know your reference?
Well, 98 years have passed since Lis Beyer or Ise Gropius were photographed by Enric Consemüller in the Breuer model club B3 chair, with a mask from Oskar Schlemmer's Triadic Ballet.
It is curious and impressive to think that Requena's photography can be considered innovative a century later.
If you consider it, you have a problem, please update. This is out of style.
Take your place.
The concept of Take your place was born in 2019. Like almost all of Requena's works and investigations, they usually span several years. The image of the Bauhaus had always fascinated him, but he found inspiration on the anniversary. The parallelism of the mask in his work with that of Consemüller and the respect for the women of the Bauhaus, made him project an image designed for a performance that has not yet been carried out. Asun Requena used a Mexican wrestler mask as a symbol of the women's struggle, eliminating his identity, and being able to represent anyone. In this way, photo performances, video performances, and performances began to have a global concept and not an individual one. Gold and the cross are part of everyday life on the spiritual and abstract level. His themes are born from his life experience and from social scourges. It stops at nothing if the cause is just, reaching the revulsive root of performance that acts on human beings. Take your place shows the duality between the concept of a vase woman at the Bauhaus, and their recognition for being part of an artistic milestone.
The relationship mask, grotesque, carnival, madness, makes this fantastic photo become part of social behaviors considered inappropriate, except on certain dates that are carnival.
Once again and in the 21st century, artistic behaviors out of reason are pointed out.
It is pure rural resilience, representing a sector of women that has been formed and continues to be formed in a hostile environment towards the new artistic languages, crossing the limits of the cultural world and accepting it in their personal lives.
Asun Requena replicates the Bauhaus scene to ask us if we know the works of art of the last century and if they are still purely current. The reality is that yes. The chair was not enough for its creator and he had to put a vase, a woman. We don't know if the idea for the mask was hers or his, but it created an anachronistic futuristic image.
The performer sits in the chair with the only change of her personal mask that she has used in so many performances. It may be the last time. She will be silent for a few moments so that the viewer only captures her image and thinks about it, about the awkwardness of the position and about the canons of patriarchy. Later, she will speak to us and challenge us to take our place in the world.
After her intervention, she invites the public to sit in the chair and question the artist.
Asun Requena replica la escena de la Bauhaus para preguntarnos si conocemos las obras de arte del siglo pasado y si todavía son pura actualidad. La realidad es que sí. La silla no bastaba para su creador y tuvo que poner un florero, una mujer. No sabemos si la idea de la máscara fue de ella o de él, pero creó una imagen futurista anacrónica.
La performer se sienta en la silla con el único cambio de su máscara personal que ha utilizado en tantas performances. Quizá sea la última vez. Estará unos momentos en silencio para que el espectador solo capte su imagen y piense en ello, en la incomodidad de la postura y en los cánones del patriarcado. Después, nos hablará y nos interpelará para que ocupemos nuestro lugar en el mundo.
Tras su intervención, invita al público a sentarse en la silla e interpelar a la artista.
CLIK!!!
