"Once the impossible is ruled out, what remains, however improbable,
must be the truth"
Arthur Conan Doyle
...If the heterotopic* spaces are differents, transformants or contradictories how does that manifests on ours bodies?
*Heterotopi are worlds within worlds, mirroring and yet upsetting what is outside. Diskursive spaces that are intense, disturbing, incompatible, contradictory or transforming.
PEQUEÑOS PASOS HACIA LA COMPRENSION DEL CUERPO HETEROTÓPICO
El cuerpo y las cosas productores de espacio y saber.
Los espacios físicos en los que nos movemos nos rodean y condicionan . Sobre ellos se reflejan las comunicaciones invisibles , las brechas y las carencias entre estructuras de poder abiertas , subyacentes, intereses de diferentes grupos y desarrollos individuales . En otras palabras, los espacios donde el cuerpo nace, se consolida y crece no están vacíos sino habitados por reglas no escritas y patrones establecidos por hegemonías combinadas y discursos actuantes. Alimentado el cuerpo social durante generaciones con analisis y propuestas masticadas de antemano con objetivos claros, a la hora de elegir tendran los cuerpos en cuestion , cánones tradicionales (patriarcales ) y límites pre-establecidos a solo dos opciones:
Un sistema binario aplicado en forma rígida, deformada y simplificada reduce las posibilidades de actuar sobre la realidad al limitar nuestras miradas y actos a dos unica concepciones posibles: la utópica o la distópica, con sus correlatos de lo inclusivo/ lo excluyente; lo deseado/lo rechazado, estar con /estar afuera, ser ente individual o ser colectivo, material/inmaterial, materia/substancia. La intraaccion y la interacción entre las partes y el todo no tienen peso específico.
Foucault presentó una mirada nueva sobre las cosas aunque sin llegar a desarrollarla en su totalidad: la heterotopía.
En el espacio heterotópico se trata de reconocer y confirmar la mayor cantidad de variaciones posibles resultantes de la interacción de cada elemento específico en cada acto y grupo especifico . Lo heterotópico se podría identificar como lo diferente, lo simultáneo y lo dialéctico. Se diferencia tanto de la utopía (inalcanzable y autoritaria) asi como de la distopía (excluyente y negativa) y apunta a una posición superadora.
La búsqueda del cuerpo heterotópico:
Inicialmente experimentando desde lo artístico con la creación de diferentes medios donde el tiempo, las jerarquías, el lugar, el centro, la periferia, arriba, abajo, la profundidad, la superficie se establecieron como conceptos relativos, flexibles o poco interesantes, se fueron reemplazaron gradualmente por lo que yo defino como
"conocimiento intuitivo"- una especie de manifestación corporal que se transmite en forma de sensaciones físicas casi imperceptibles sin un entrenamiento de los sentidos - Este proceso del conocimiento requiere al mismo tiempo desarrollar las herramientas necesarias para detectar los espacios vacíos de conocimiento con naturalidad y descartando todo tipo de prestigios . Las búsquedas artísticas, catalogadas por mi y por otros de "extrañas", durante mucho tiempo encasilladas en el rubro "experimentales", me fueron llevaron lentamente a experiencias y reflexiones desconocidas por mí y / o por el público en el momento de los actos interpretativos. Usando diversas herramientas expresivas de distinto tipo (fotografía, collage, pintura ) paulatinamente fue manifestando se el aspecto performativo como trascendental.
Estas experiencias juntas fortalecieron la certeza inicial de la importancia performativa sobre los cuerpos y los espacios y la influencia de los espacio sobre los cuerpos y la actividad performativa en el desarrollo diario de la vida.
El pedagogo ruso Lev Vygotskij (1896-1934) creo la definición "artefactos mediadores" aplicable a todo lo que sirviera para el aprendizaje.
El arte nos ayuda a percibir el mundo mientras se lo habita, en mi caso desde una perspectiva de individuo y de genero que yo considero altamente politica, no partidaria. Mi "primer habitat" (el cuerpo) se convierte y reconvierte constantemente bajo las influencias de modelos preestablecidos o "de moda" hasta el momento donde el proceso de individuación se consolida.
El arte nos posibilita la combinación entre lo material y lo intangible (afectos, sensibilidades , percepciones, intuiciones) sin descartar la perspectiva binaria imperante que sin embargo bajo la óptica Deleuziana ( "Si te dan a elegir entre uno o dos elige tres") mas liberadora, permite ir incorporando elementos diversos (sin ocupar en todos los casos la calidad de antagonicos) me fué acercando a la pregunta clave: Como actua el arte entendido como un "artefacto mediador" en el proceso de individuacion personal?
Considerando que los cuerpos en la busqueda de su individuación son siempre obstaculizados por politicas e ideologias de turno que los empujan a situaciones ambivalentes: por un lado la necesidad de conectarse con la propia especificidad del cuerpo, por el otro la presión constante de convivir en sociedad, plagade de reglas y ritos necesarios.
He intentado, a travez de incorporar "fenómenos ancestrales" (lo lúdico, las expericencias politicas, los recuerdos , las experiencias indirectas etc) de problematizar el proceso de individuación tranformandolo todo en formas distintas de "artefactos mediadores" para la construcción del cuerpo heterotópico.
Cuerpo: tiempo y espacio de intraactuación entre seres y las cosas.
Planifico continuar usando y desarrollando las herramientas que hasta aquí me han servido poniendo el acento en la performatividad artística, para seguir profundizando en mi experiencia perceptiva.
A travez de ir separando y combinando de forma conciente aunque a la vez espontánea y casual la narración literaria rígida y ordenada, del acto performativo sin límites previstos de antemano, creo poder acercarme gradualmente a una forma de conocimiento más compleja y dinámica que se manifestará intelectualmente.
Los sonidos, las palabras, el movimiento, los gestos manifiestos o virtuales y cualquier otra forma de comunicación visible e invisible será comprendido como "artefacto medierande"en el objetivo de revalidar y reciclar la propia experiencia como parte inseparable de la experiencia grupal, en el proceso paulatino de individuación.
Para poder entender y desarrollar el potencial de cada individuo , propia de nuestra naturaleza humana, en combinación con naturalezas iguales o diferentes, es necesario crear espacio en los cuerpos y cuerpos concientes de su relación inseparable con lo colectivo.
La autoreflexion crea espacio, con cada decisión tomada se modifica el entorno
Habitar y deshabitar el cuerpo de mil formas diferentes.
La conciencia holistica (de ser parte que pertenece a un todo) ha sido entendida por nuestros ancestros y en algunas culturas aun lo sigue siendo.
Todas las naturalezas se encuentran unidas por la misma vida (movimiento y espacio) mientras existen.
Las realidades especificas de cada lugar que habitamos, si bien diferentes por lo complejas, son a la misma vez inseparables del tiempo y espacio común .La experiencia humana es el resultado de practicar la vida como parte de ese todo del cual no es posible separarse .
Percepción vs recuerdo:
Una de las ideas centrales de mi projecto ha sido la convicción de que la percepcion, al igual que el conocimiento estan en constante cambio y deben alimentarse de imágenes y gestos, razon por lo cual recurrí a recuerdos que en mi caso personal eran enormemente significativos. De forma intuitiva sin embargo comencé a integrar algunos objetos que me rodeaban para provocar memorias físicas, no solamente intelectuales.
Inicialmente y sin referencias inmediatas claras, centré el proyecto alrededor de los recuerdos, basada en la idea errónea de que el acto de acto de recordar era sinónimo de ”proyectar” recuerdos . Esta definición sin embargo generaba un estado de ambivalencia ya que mi decicion conciente era poder integrarme a un presente más que habitar el pasado cuyo peso tan específico intentaba relativizar. A esta altura de mi proceso entiendo esa contradicción como inexistente.
Merlau Ponty dice que “la conciencia traspone los recuerdos al presente para retener lo que se ajusta a él” y que recordar no es poner en la conciencia un cuadro del pasado. Recordar es representar una nueva escena con lo que la memoria almacenó como importante.
La función de los objetos y los cuerpos "artefactos mediadores" transmitian algo de alguna forma con una enorme carga afectiva.
Con cada acto performativo fué crecíendo y afianzándose la necesidad de trascender lo emotivo hacia lo racional con mayor fluidez y por lo tanto con menor costo afectivo. Como resultado de ese proceso pude discernir que de lo que se trataba era de separar dos estados diferentes del cuerpo: recordar y percibir.
Percibir no es recordar, como tampoco experimentar impresiones de recuerdo. Percibir es ver como surge a partir de una serie de datos un sentido immanente sin el cual no es posible evocar recuerdos.
La percepción nos remite a las cosas y al hueco entre las cosas.
Sobre el arte de accion y las formas:
Se podría argumentar que mis actos performativos se parecen al teatro, puede ser. Pero es absolutamente incorrecto mezclar el mundo de las apariencias , propio del teatro y del cine, con lo artístico-performativo. En el teatro podemos hablar de aspectos performativos, sí, siempre se manifiestan en relación al texto representado, es decir, en su función de "como si ...". En danza, los aspectos performativos representados están relacionados con el movimiento. En música al ritmo. En poesía a la modulación de la voz y al tratamiento de los fonemas. En deporte al rendimiento físico. En política a la ejecución general del discurso.
En el arte performativo o el arte de la acción, lo performativo es lo íntimamente relacionado con la individualidad humana que impulsa al acto, cuyo motor es la autopoiesis, es decir la capacidad de algo de generar su propia vida. La forma que adquiera ese acto nunca puede separarse de su fondo de experiencia única y temporal . No se está intentando "imitar" situaciones previas "re-representándolas" (presentándolas nuevamente) cuya función es propia del teatro y del cine.
El acto performativo está generando "aquí y ahora", un nuevo estado perceptivo en el mundo real, generando una brecha en el tiempoespacio donde la experiencia performativa está teniendo lugar. Es en esa resolución momentánea de la contradicción existente entre lo simbólico y lo real, donde se generan nuevos procesos que modifican el conjunto de las experiencias humanas ya existentes. De alli que las formas' del acto performativo no puedan ser mas que temporarias, y no tenga sentido repetir una intencionalidad ya ejecutada. El 'aqui y ahora' del acto simbólico queda agotado en el mismo momento de su resolución en el mundo real .
SMALL STEPS IN THE COMPREHENSION OF THE HETEROTOPIC BODY
Bodies and things in the production of spaces and knowledge:
The physical spaces in which we move us surround and condition us. Over them are reflected the invisible communications and the gaps between underlying power structures, interests of groups and individual developed. In other words, the spaces that the bodies inhabit are not empty but full of unwritten rules and patterns established by combined hegemonies and acting speeches. Fed the social body for generations with speeches chewed beforehand the bodies will have to choose, according to the traditional canons (patriarchals) in only two directions:
The binary system rigidly interpreted and aplied , reduces the possibilities of acting on reality by limiting our actions to two possible conceptions: the utopian or the dystopian, with its correlates of the inclusive / the exclusive; what is desired / rejected, being with / being outside, being an individual entity or being collective, etc.
Foucault presented a new reading at things, although unable to develop it in its entirety: heterotopia.
In the heterotopic space it's the central question the recognizing and confirming of the greatest possible number of variations resulting from the interaction of each specific element in each specific act and wich group.
The heterotopia relates with the different, the simultaneous and the dialectic. It differs from the utopia (unattainable and authoritarian) as well as the dystopia (exclusive and negative) by the acceptance of variation and coexistence.
The searching of the heterotopisc body:
The initially experimentation from the artistic with the creation of different media where time, hierarchies, place, center, periphery, up, down, depth, surface were established as relative, flexible or uninteresting concepts, and replaced gradually by what I define as
"Intuitive knowledge" - a kind of bodily manifestation that is transmitted in the form of almost imperceptible physical sensations - This knowledge requires at the same time developing the necessary tools to detect empty spaces of knowledge naturally and discarding all kinds of prestige. The "strange" and for a long time experimental artistic searches slowly led me to experiences and reflections unknown to me and / or to the public at the time of the interpretive acts and through other creative tools (photography, collage, painting )
All these experiences together strengthened the initially intuitive certainty about the influence of bodies on spaces and the influence of spaces on bodies in the daily development of life.
The Russian pedagogue Lev Vygotskij (1896-1934) created the definition "mediating artifacts" applicable to everything that served for learning.
Art helps us to perceive the world while it is inhabited, in my case from an individual and gender perspective that I consider very political. My "first habitat" (the body) is constantly converted and reconverted under the influence of pre-established or "fashionable" models.
Art allows us the combination between material and intangible (affections, sensibilities, perceptions, intuitions) where also the prevailing binary perspective plays its role.
The bodies in the search of their individuation are always hindered by politics and ideologies of the day through subjecting them to ambivalent situations: on the one hand the need to connect with the body's own specificity, on the other the constant pressure of living in society, plague of necessary rules.
From a absolutly Deleuzian perspective ("If you are given a choice between one or two choose three") I have been incorporating elements around an essentially performative practice which brought me closer to the key question.
: How does art act as a "mediating artifact" in the process of personal individuation?
I have tried, through integrating ancestral phenomena such as playfulness, political experiences, memories, indirect experiences, etc., to problematize these influences by transforming everything into different models of "mediating artifacts" for the construction of the heterotopic body.
Body: time and space of intra-action between beings and things.
To continue developing my perceptiv experience I plan to continue using and developing the same tool that has served me so far: the performativity,
Through separating and combining in a conscious and spontaneous way the rigid and orderly literary narration off the intuition who rules over the performative act , I believe can continue achieve a more complex and dynamic knowledge that will manifest directly through the trained body to felt and see.
The sounds, words, movement, manifest or virtual gestures and any other form of visible and invisible communication will drive the development of a body capable of revalidating and recycling one's own experience as part of the group experience, in the process of self-individuation.
To be able to add and develop the capacity of the our own nature (programming and imagining) together with equal or different natures, it is necessary to create space in the bodies and bodies aware of their relationship with the collective.
Self-reflection creates space, since with each decision made the environment is modified
Holistic awareness (of being a part that belongs to a whole) has been understood by our ancestors and in some cultures it still is.
All natures are united by the same life (movement and space) while they exist.
The specific realities of each place we inhabit, although different because of their complexities, are at the same time inseparable from common time and space. Human experience is the result of practicing life as part of that whole from which it is not possible to separate.
Inhabiting and uninhabiting the bodies in a thousand different ways.
Perception vs memory:
One of the central ideas of my project has been the conviction that perception, like knowledge, is constantly changing and must feed on images and gestures. For which I resorted to memories that in my personal case were very significant. Intuitively, however, I began to integrate some things that surrounded me.
Initially and without clear immediate references, I centered the project around the memories, based on the misconception that the act of remembering was synonymous with "projecting" memories. This, however, generated me a state of ambivalence since my decision I was conscious of being able to integrate into a present rather than living in the past whose weight was very specific. Today I understand that contradiction as nonexistent.
Merlau Ponty says that "consciousness transposes memories into the present to retain what fits it" and that remembering is not putting a picture of the past into consciousness.
The function of objects and bodies "mediating artifacts" transmitted something in some way with a huge affective charge.
With each performative act, the need to transcend the emotional into the rational with greater fluidity and therefore with less affective cost was growing and strengthened. As a result of this process I could discern that what it was about was to separate two different states of the body: remember and perceive.
To perceive is not to remember, nor to experience impressions of memory. To perceive is to see how an immanent sense emerges from a series of data without which it is not possible to evoke memories.
Perception refers us to things and the gap between things.
About the form of the performativ artistic act.
One could argue that my performative acts resemble theater, it may be. But it is absolutely wrong to mix the world of appearances, typical of theater and cinema, with the artistic-performative. In the theater we can talk about performative aspects, yes, they always manifest themselves in relation to the represented text, that is, in their function of "as if ...". In dance, the performative aspects represented are related to the movement. In music to the beat. In poetry to the modulation of the voice and the treatment of phonemes. In sport to physical performance. In politics to the general execution of the speech.
In performative art or the art of action, the performative is the intimately related to the human individuality that drives the act, whose motor is autopoiesis, that is, the ability of something to generate its own life. The form acquired by that act can never be separated from its unique and temporary experience fund. There is no attempt to "imitate" previous situations "by re-representing them" (presenting them again) whose function is typical of theater and cinema.
The performative act is generating "here and now", a new perceptual state in the real world, generating a gap in time space where the performative experience is taking place. It is in this momentary resolution of the contradiction between the symbolic and the real, that new processes are generated that modify the set of existing human experiences. Hence, the forms of the performative act can only be temporary, and it makes no sense to repeat an intent already executed. The 'here and now' of the symbolic act is exhausted at the same time of its resolution in the real world
Torres de Serrano- Valencia/Spain
Group performative class led by Professor Bartolome Ferrando- University of Fine Arts of Valencia
Photo: Bartolome Ferrando and Audience.
Bro Centrum/Sweden - Project: "My history".
"...When the deaf tones are so deaf they can't even mimic a sound.
Nothing is said. Nothing has been said
in the intermediate tones only empty questions
Almada De Alvarez Ana Maria. Vid sakernas tillstånd.2016
Photo: Felice Hapetzeder.
"Man måste kämpa" (Bodyreflexions in Duved by side of the Caroleans army memorial )
Performative act in collaboration with a local resident.
What kind of knowledge is it that in the body reveals the difference between what we do and what we say we do? Is it objectivity, power, truth?
It is said: Knowledge is a combined and collective act: Who kind of knowledges is important? Who is allowed to speak? What can you talk about?
Is the fight pleasure or suffering? If we were forced to choose one virtue, what is the most important : to fight, to remember , to learn?
Is the passion for the truth a knowledge way? A kind of healer? An imcofortable habit?
What role does it play in the construction of the heterotopia of the bodies and in the relationship between them?
The death march.
December 1718 :Sweden planned an attack on Norway from Jämtland towards Trondheim. The retreat to Sweden is known as "The death march"
More than 10.000 soldiers marsched and relatively few people died in combat. The siege dragged on over time and boths army suffered from a lack of supplies and diseases.Three thousand died of cold and hunger during the return, mostly Finns. At the end of December 1719, the sweden King Charles XII was injured.
Bad weather made resupplies from Sweden impossible, so the army had to live off the land, causing untold suffering to the Norwegian civilian population.
in form of diseases, looting and lack. The project exterminated 40% of the male population of Jämtland.
Tanks to Martina Sturmhoefel!
Photo: H. J. Alvarez/H. J. Alvarez jr.
"Cuando quisimos peces nos mojamos"
(When we wanted fish we got wet)
In statistics it is called spurious relation to a mathematical relation in which two events have no logical connection, although it can be implied that they have it because a third factor not considered and known as “a confusion factor” or “hidden variable”that intervenes in the process.
Alicante - 2019
Photo: H. J. Alvarez/Ana M. Almada
Free cours (master) thesis
Stockholms Dramatiska Högskola
Can the rite and the play affect feelings, needs and decisions?
Our perception is to a greater extent individual and subjective, our affective reactions have links to the various tools the experiences have equipped us with. Our sensory system makes selection in the references that the body's memories have been stored. I am interested in resilience: the capacity to repair the traumatic or injured in natures, both people and environments. The energy that we can release during the resilience process, in my own experience, can be compared to the act of "crossing a portal" with uncomfortable or dangerous sockets, the other side allways holds promises.
The term "portal" in my exempel is in relation to energies and state of min. But in that association we most include an important part in any portal : the embrasure (in architecture the external part of a portal)
In my hypothesis, It figuratively correspond to the direct and indirect experiences we carry with us, and how we use it in the construction of shields and/or ornaments, to attract / isolate the surroundings during our existence.
What a function it "emotional embrasure will fill is individual and depends on a lot of aspects: expectations, desire, interest, purpose, knowledge, genetic components, including beliefs and ideologies. Different stimuli can increase the level of attention through intensity, change, movement, repetition and emotional content among others. In my portal figure, I can see some resemblance with the "liminal phase" that the French-German ethnographer Arnold Van Gennep has studied in his research on Les rites de passage (transitional rituals) and the British anthropologist Victor W. Turner later developed in the book The ritual process.
Photo: H.J.Alvarez/Ana M Almada
Luciferina oxidada (in spanish) Is the name of an high intensive process of transformation in bioluminescence. It produces cold light in some insects, fungi, bacteria and in some species from the sea.
The oxidation phenomenon includes 2 molecules (luciferin and luciferase), oxygen and ATP (adenosine triphosphate).
There are various forms of bioluminescence, however, all with a common denominator: oxygen, thanks to which we can keep remembering
In hommage to Floreal Avellaneda, savagely tortured and killed by the argentine state terrorism at 14 years old
What is not allowed is forbidden!:
This absurd answer became famous between us thousands of female political prisoners in Villa Devoto/Argentina. It was in answe to the question about the current rules of every day, that was important since not respecting the rules had its consequences. "Los Chanchos" (The pigs)it was the name of the small cells where people were punish. The punished person was taken from the company of other prisoners and sent to the isolation cell in weeks.
The isolation cell was empty, dark, with double doors and thick walls. Only little sound filtered inward or outward. The oxygen stream is through an unreachable rectangular hole in the wall. No other clothes than the ones the punished was carrying were allowed. A piece of sheet metal without a mattress, bolted to the wall, worked as bed, table and chair: all in one. Every day the mattress was removed at 6 am and returned at 22 pm.
Delivery of food was the only event of the day.
From magical thinking to the magic of thought:
The selfimaginary game-ritual of ranking and dose the memories became over time a skill . It was necesary some rulles, because it required contact with one’s own humanity and objectivity over the reall current mental state. If the memory was painful it was necessary to censor it. Especially painful was the memories of the children. Awareness that the loss time could not be replaced is extremely hard.
• Everything can become a symbol.
• Each symbol can express a memory.
• The solitary game is linked for över to the own existence
STOCKHOLM SUPERMARKET ART FAIR
Hommage to Deleuze
"When you are forced to choose between one and two, choose three" Guilles Deleuze
The art was for a long time associated with male geniuses which isolated from the surroundings they produced and sold at enormous prices on clinically stripped galleries where not many dared to step in (It is not the intention either) The point is that art can equally take place among pans in the kitchen, a storage room in the workplace or in the body here and now with its history of play or ritual. Being human has always meant being able to take responsibility for our specific nature, which, like other natures, lives in constant change, in contact with itself and its surroundings.
Bro Biblioteket- Sweden
"Att döda en wonderbaum"
"Art is always political, either by what it says or by what it does not say"...of course is not "political" a synonymous for propaganda
Bro Centrum torget-Sweden
Copyright @ All Rights Reserved
Women are more than any living being exposed to many form of censorship among other criticism and judgment. Let's continue clicking all those balloons
Den lilla teatern- Uppsala-Sweden
Can someone answer why
some people choose to become executioners?
Fill bodies with stones of contempt
tags of shame.
What's behind that miserable logic?
In between was created as a comforting gesture.
"Att välta en taburett"
Some flies make entrance when something is rotting.
Relationships are not things but produce brands on bodies and place. The air of the processes become rarefied when self-deception, inconsistency between the saying and the fact together with half-truths define the relationships of a group. Thence to exclusion, servility with hierarchies, and more, there is a short flight.
A fly alone cannot transform a chair into a stool and then flip it over, but several people, together, can try it again and again. Or not, according with their purpose, energies, experiences and hopes.
"Maria och odjurens verk"
Maria was a mother who suffered the loss of a child, throug injustice, complicity and abuse of power.
Maria was a sister who suffered the loss of her brother, through injustice, complicity and abuse of power.
Sons and brothers as well as mothers, fadhers and sisters are human roles that we offer each other.
The monstrosity, in different ways, is a rol too. The difference between one and the other is that becoming a monster is a personal choice.
Lids Kyrka- Nyköping-Sweden
Photo: Ana M. Almada
"Judith efter Olofernes"
Love me not too much, love me good!
San Valentine's Day become a contemporary and commercial ritual: What kind of love do we celebrate in this day? Hollywood love: beautiful but false? Love like a property rights? Narcissistisc love? that transforms people into things. Love for 'our people', who can end up in segregations? Love for 'our country' that historically generates war and exclusions?
Love can also be evil. Under the feeling of love, loving people can destroy others. But even the lack of love can have terrible consequences for people. The religions spread peaceful and loving messages and talk with double tongues when only refeers to they peer. Love is love is god.
Kulturhurset i Stockholm
Photo: Madeleine Aleman
My mother loved to dance, and i loved my mother, although his musical ear was disastrous.
I was eight years old when my function was to accompany her, and tell discreetly
what kind of rhythm each music played was.Is it waltz or is it tango? she asked me.
(Tango was later called my very loved dog)
According to my answer she accepted or not the invitation to the dance floor.
Hugo Ball is the artist in the picture, who contributed to create the Dadaism, sometimes and to somebody a way of live.
ID:i Galleri - Stockholm
The expression between us is used in Argentina in many ways: As a synonym of confidence, to indicate the belonging to a group, in referens to a habit or a custom of a group, or to refer to the presence of something, someone or some in a certain group or place.
All these expressions are valid to leave a mark in the outraged geography.
In the vicinity of Palermos forest, the heart of the city of Buenos Aires, for decades a place commonly used to walk, play or love, opereted one of the many centers of torture, terror and death during the last military dictatorship.
Buenos Aires/Palermos Hood
Photo: Ana M. Almada
"Händelser som ser ut som tankar"
"Inom ramen för psykiatrin"
Foucault believes that it is in discourses differences and contradictions that the new concepts and hypotheses find its foundation. These contradictions also include discourses taboos.
My practical experience in psychiatry in Sweden, in a role of mental nursing students first and then as medical secretary, talked about an activity stuffed with taboo, censorship and restrictions, confrontations, manipulations, hidden conflicts and dictatorial exercise of power in a very hierarchical context. In other words: During my professional practice in different sections of the activity, I experienced unhealthy working environments where destructive relationships and exclusions were not unusual. My perspective is simple and compassionate only with common sense, and humanistic parameters.
It was therefore interesting to participate in the same activities in an artist's role. This was possible thanks to an invitation to a pilot project where Konstfrämjandet was one of partners. I was only careful to choose a section known in Psychiatry as the most "democratic". Maybe art could contribute further with its open perspective? My artistic basic material during six months was the relationships; therefore I supported the project in experiences that Nicolas Bourriaud gathered under the concept: Relational aesthetics. Most of the staff accepted to participate in a process that nobody controlled, a new and original dimension in the framework of psychiatry. The pictures would speak for themselves; no one had a role of interpretation representative. Daring to be active under these conditions was already a success.
STOCKHOLMS LÄNS LANDSTING
Photo: Ana M. Almada
"Juku" Att skapa en ritual
In times when groups are more engaged than ever in concentrating and rejecting each other at the same time, it is a good exercise to try to immerse ourselves in our history as specie and bring to the present our common origins, our similarities and our searches. My way is to trate to understanding and accept the differences between us to achieve support other along the way, like a new and necessary ritual
Svarta Havet- Konstfack
Photo: Valeria Montti Colque 2005
"Som du, som jag, som hen"/Like you, like me, like she/he
In Malmö I joined the choir of artists that the sculpture of the place represents, to draw attention about the phenomenon of refugees, who daily defy death looking for a place in the world to live with dignity.
Malmö- Public space
Photo: Marta Aguirre
The nomades pacifiers
A distance-participatory project "In Memoriam" of 30,000 disappeared in Argentina during the state terrorism between 1974-1983. Pacifiers picked from streets and other public places, received name of a missing person and later distributed to people interested in "adopting them to give them ny life". The project was documented in form of photos and exhibited at the Bro Library and at Tensta Konsthall.
2007-2008 -People from different countries
"Hommage to Pipa Bacca"
Pippa Baca was a performance artist who did hitchhiking från Italy
with the intention to arrive to Palestine . Along the way in a gesture of peace and confidence she washed the feet of the meeting people.
She don't get any further than Turkey. She was raped and lying dead on the side of the road. I wished visit his country and walk on 'Via dell amore' in Cinque Terre.
Cinque Terre- Italy
"Tankar att ta med sig hem"
A performative intervention in England, in the Tate Modern and in the middle of political paranoia, without any authorization, without recommendations, without names of famous artists behind ... what are the chances of being successful? Any!
One more experience among all valid, that is how the world was built.
Thanks to the artist Andrea Macchiavelli and the poet Ann Jäderlund for participating in my absurd experience.
Tate Modern UK
Photo: Ana M.Almada 2003
" Jardin de gentes"
The speeches head the children's head very early. Rules, hierarchies, schedules, controls of different types, various intentions. I wanted to give those kids an image of someone other than those they know. No instructions, no explanations. Let the image populate the childlike fantasy in the way they decide. Fear was naturally not absent. What do we do? Who are we? What is expected of us? whitout rules of conduct around us.
"Att bära sin mors mantel"
The equality of women? Sure!… But when it comes to practicing it in terms of symbols and on public roads… who? when? and how many accept the challenge? I took a camera, a dress and went out through the streets and neighborhoods of Stockholm to ask the men if they were willing to do so?
I asked the same question to almost 200, 50 agreed to be photographed.
Photo: Ana M. Almada
During my period of residence in Paris, 18 years ago I was sadly surprised at the number of people who slept on the sidewalks at night. Today nobody is surprised över the homless number in the world. My reaction then was to take my camera and ask visitors to the Palais de Tokyo a center of contemporary artists, if they agreed to lie on the restaurant floor, very decorative on the other hand , to experience in their own bodies the lack of protection that some peoples suffers daily. Most of the 25-30 respondents accept. Everyone was upset by the experience.
PALAIS DE TOKIO-PARIS
Photo: Ana M. Almada