carlos pina. performer, visual artist, and independent art organizer
Main core of my work is the politization of own life. I deal with a variety of subjects such as the personal therapy or the individual immediate surroundings, with the personal and collective memory or the global historical and geopolitical frame. Now I'm working on politization of body. In my performances word is the main component that articulates the action. The eminently political nature of my work rests mainly in spoken speech, accompanied by the creation or manipulation of objects and environments, that are two essential elements in my work. The objects that I construct during my performances have a performatic function, they are action, significance and signifier unified through the speech.
My artistic work between 2000 and 2004 was centered in the series To leave out the closet (F34.1/F60.5), a series about psychotherapeutical imagery, based in my own treatment, and in the series around (contexts + environments) centered in the ritual destruction of objects that I had dragged along the years, which essence was the fact of putting in a personal, historical and social context all these objects as well as the own process. Since 2004 I began to concentrate more in what I was building with the rests of what I was destroying that in the mere fact of destruction. In this way, in Reconstruction, the rests of my actions stop being simple waste to turn into objects that could be appreciated of very different ways. In 2005 I began to develop the concept of The cross: that anyone carries on his backs, culminating in this way a work that had been, really, a process of destruction for reconstruction.
All the artistic process developed between 2000 and 2005 was no other thing but a re-presentation of my re-construction as a person, as Richard Schechner defines the performatic behaviour, “twice behaved-behaviour”, in which the used elements, always common and closer, would symbolize my own vulnerability and the fragility of the foundations on which I have been constructing, of autodidact way in many occasions, my own life. For me, it turns out very strange to speak about me, about us, in these terms and over these subjects, but I believe that if art does not speak of what truly matters, and that doubtless is very indissolubly bounded with the life, it does not interest to me. In this aspect, work carried out in this period never tried to be a sample of my personal obsessions but just fits in with the rest of my work about politization of the own life.
My work between 2004 and 2007 developed the concept of anamnesis, of reminiscence, to recover a recent collective tied to my own biographical, social and historical context. Many of the recent historical facts have suffered a gradual process of forgetfulness, lost in a species of generalized amnesia caused by the supersaturation of information in the mass media, that have turned the so called "society of communication" in a "society of the noise". This work expected to fight against the hypocritical silence of our contemporary society with a clear political intention: "duty of memory, crime of silence" (I take this concept from Federico Mayor Zaragoza, former General Director of UNESCO)
Since 2007, in parallel to this work of recovery of the memory, I began a series of political performances site/time specific. The main feature of these works was the existence of a speech that articulates the action, spoken or not, and the construction of objects during the performance. In this work I often used the image of light assault arms as “cultural objects" that are present everywhere. In spite of having a very determinate apparent signification, I consider that as images they contain a big ambiguity that allows multiple readings. In their utilization there is not any fascination by the object as such, but the confirmation of its universality as a symbol present in all the modern cultures. In this way, my more recent work tries to establish bridges between the social, cultural and political realities of the place where I act and the ones of my place of origin through symbols universally recognizables.
In all my work I don't claim speaking only about me because there is always, in some way, an identification with the others and in the others. Ties of coincidence and complicity are established through shared experiencies or ideas -often brought in secret- that I just make public. What I would like highlight of my work is the reaction of public, that has oscillated between the discovery of an unknown reality until then for part of them, and the mutual recognition in a shared reality by part of many others. Beeing anyone, there has never been for part of the public a reaction of indifference. Along the time, while the different series where developing, I began to be increasingly conscious of the importance of putting in context the own work, in the personal, social and cultural biography of the artist and, also, of the importance of putting in context the own acts in the performance. All always returns, then, to politics.
Under the name of collective Stidna! (www.stidna.org) I work in the field of the visual poetry since the 1993, with a political approach, individually or in collaboration with Maria Cosmes.
Director of the international festival of performance eBent between 2003 and 2010.