Reports

CRISIS – BLOOD

The artist’s main goal is to use often shocking performances (in which she engages her body) to shock the spectator and emphasize the importance of the subjects scrutinized.  The artist’s body can be perceived as a tool through which she speaks to the public while simultaneously stressing her personal involvement in a particular issue. The use of her body and the symbolic aspect of her work can be seen in one of her best-known works, “Who Can Erase the Traces”, for which she received the Golden Lion award for young artists under the age of thirty at the 2005 Venice Biennial.

artistsGalindo Regina José
placeKarlin Studios
tags
castGalindo Regina José
cameraJan Vidlička
soundJan Vidlička
editingJan Vidlička
interviewJan Vidlička
categoryReports
published24. 8. 2009
languageČesky / English
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CRISIS – BLOOD
The title Distressed refers not only to desperate working conditions and the condition of the workers, but maybe even to one actual product of textile- the sought after and fashionable „distressed denim". Jeans that are supposed to look used and worn out. In some sort of twisted logic people in rich countries, from where textile factories have been pushed in the competition for the cheapest labour, wear ripped jeans. They uncousciously show the true character of the conditions of its production. As if they were transparents of the impoverished, hung on the naked bodies of the narcissists of the richer part of the worlds.
Conceptualized by Zbyněk Baladrán, Vít Bohal, Dustin Breitling and Václav Janoščík, the conference brings together theorists, artists and organizers who collaborate and elaborate on their visions in order to discover junctures of overlap for thinking about the emancipatory potentials of the future.
The exhibition Happiness Is Not for Everyone is a look at the phenomenon of self-help guides that resuscitate the myth of the strong, masculine individual who has his life firmly in his own hands. However, when we focus more closely, we see a lonely man in distress. From the constructed nature of the situation—the asynchronization and denial of the source image and sound, the speaker's hesitant yet determined diction—we can guess that this is a game with authenticity, that we are witnessing the performance of a role, the fulfillment of a task, the immersion in the state of sovereignty.