Plastic extension of Breviario de espejismos by Elena Mendoza. Glued paper, two speakers, amplifier, video, tablet, LED light, photographic montage, four metal supports, fishing line, metal strings, two wooden boxes, two mixed metal-wooden supports.
|Media of output
|200 cm x 400 cm
|Published - 2017 Jan 22
...pas digun ne vedèva sa cara (uma vontade de foder) [2016-17]
[tableau vivant/sound installation]
"El mundo es una máscara, el rostro, el traje y la voz todo es fingido; todos quieren aparentar lo que no son, todos se engañan y nadie se conoce."
Capricho nº6 - Nadie se conoce (1799) - Francisco de Goya, Manuscrito del Museo del Prado.
...pas digun ne vedèva sa cara [translation from occitan to english: no one was seeing her face] (uma vontade de foder) uses Breviario de espejismos by Elena Mendoza, a solo guitar piece sounding in the structure that Chavarría-Aldrete intended to recreate/extend as an interpreter.
Conceived as a Tableau vivant recreated by the beholders; public in order to "feel" the work will need to "be" the work, all five masks represent the characters in the Capricho by Goya and their recreated perspectives inside the Capricho ; we are the masks, we see and feel what we/they are, show and hide.
In order to have an extended visual link -in a cultural and geographical way- with Goya, the artist used video material from Luis Buñuel and Segundo de Chomón; artists born in Aragon, Spain, as Francisco de Goya.
The mask hides our persona in order to pretend to be what we are not, but the mask also gives us the hability to freely be ourselves with the image of someone else; protected by a disposable image, we are able to reveal what we really think due to anonymity, our thoughts, actions and words towards our interlocutor will be engraved in the mask of another being.
Seduction, falsehood, naivity and voyeurism build an extended sensation that Goya achieved with his Capricho.
- Performing Arts
- Visual Arts
- Digital or Visual Product
- Tableau vivant
- Plastic extension of music