La tristeza como experiencia compartida

Crucé el puentes de las horas, 

me desvié a segundos en cámara lenta

y ahora ya no quiero regresar.

 

Parece que todos saben que el viento me ha pasado por el cuerpo,

ese cuerpo donde ahora mismo me acurruco y no quiero salir,

pero también ese cuerpo en donde se acurrucó

el viento, la lluvia, la luz del sol  y de paso tú.

 

Contemplo el sol que conozco por primera vez 

con esos rayos rebotando cual espejo sobre el pasto,
 y pienso en los masajes de cálido aprecio que me encontraron,
 los saltos mortales hacia el horizonte que aprendí y

los sonidos de trabajo que me ayudaron a callar

los molestos pensamientos.

Volando con Sachiko MikiIslandia, Picture by Bibiana 2020

Caminata con Hongo, Islandia 2020

 

Ayer era el último día de los últimos días,

 y nuestras miradas chocaban a través de cachitos 

de segundo, seguido de silencio.

 

 Nos encontramos entre pasos de baile removiendo la nieve
  con montones de suspiros sin traducción a media noche,

chocamos explotando tormentas y paisajes,

 entre el clima cálido que nos apapacho 

en los encuentros a bocanadas de brisa,

  

El viento nos arrastro a contra reloj y periodos de diez minutos 

por estado de clima que intentamos pausar a estrujones,

Experiencia de tristeza extendiendo sus brazos hacia nosotros

en forma de niebla, con nostalgia las estrellas nos miran detrás de las nubes.

Dice el diccionario que cuando se habla de emoción, 

tristeza significa decaer. 

Chia Caminando en el horizonte, Islandia 2020

Faro, Islandia 2020

 

Como ahora sé, que los buenos momentos

se arrancan como piel,

tuve que aprender, que la tristeza

esta vez era una experiencia compartida;

La tristeza como experiencia compartida

 no es caer o decaer, 
no necesariamente es llorar,

 no es nostalgia;

ni tampoco solo callar,  

 

 Pero si es silencio sonrojado y vestido 

con nuestras tímidas sonrisa.

 

 Aprendí que compartir la tristeza puede ser reír

 disfrutando las últimas cosquillas, buscar estrellas en tormentas, 
esperar el arcoíris de las noches, tener apapachos largos, 

nerviosos y pacientes.

 

¿Entonces la tristeza también a veces es una utopía? 

¿Una romantización de algo que no quieres que se acabe?

¿Ingenuidad bohemia y mentira conceptual para resistir la verdad?

 

¡Me vale! 

Que  hermosa cuando la compartes,

y se pega a ti como una mariposa en primavera 

aferrándose a tu cabeza.

  

Cancun Mx. 2020

Munich, Alemania. 2020

Munich 2020

Munich 2020

Islandia, Picture by Amber  2020

ART AND SOCIAL INSERTION

RELATIONSHIPS

POWER

VIOLENCY

 AND

 IDENTITY

When I say social insertion, I don´t mean a group of people who reintegrate into society after having done something or improve society; with social insertion I mean:

people who instantly integrate into an artistic action that sometimes relates to a social criticism and as a result. they create a specific place or community through the action

1.- HAWKER WISHES 

This piece was made in the state of Chiapas Mexico one of the states with the highest population poverty. In this state, there are many children who sell souvenirs to tourists and that caught my attention, so I made snap drawing sessions on the street, in which children and women shared me the things they did not want in their life, I recovered the audio of the conversations and the drawings to make a video that I projected in the streets of Chiapas with the intention of giving voice to the wishes of the HAWKERS.
 .

/ Social insertion/ drawing sessions, and video projection in the streets/Chiapas México 2015

 

 

 

 

 

 

 

 

 2.- AIR THREADS

This work was made in a residence during the International Festival of Land Art in Michoacan Mexico, in a community very close to a volcano that exploded many years ago and separated four communities through lava.

Now these communities are constantly fighting over the territory, but they are mainly linked by the volcano,  for that I built a wind mill in the middle of the road that connects these four communities that were once only one. The wind mill was lined with red and white fabrics according to the color of their community sant holidays and with drawings made by the people of the four communities and now this wind mill serves tour guides to know when a storm is approaching.

 

 

3.-METAMORPHOSIS OF A MERCHANT:  

PART 1 GARLANDS FOR WHOM GARLANDS DESERVE

It is a work done in Toluca State of Mexico, there is a market one of the oldest markets in the capital, its name is Mercado September 16, this market is part of the social struggle of merchants who wanted to sell products without being arrested for the police.

I looked for 16 merchants in the market that were part of this social struggle to get a space to work. First I drew them, scanned the drawings, printed them in lasser printers and then transferred the drawings in plastic to make garlands, because the garlands are to celebrate something and this piece is a recognition to the merchants who resisted to the construction of their workplace. 

PART 2

Also in this work I highlight how the objects give identity to the person who sells it, that is: when we go to eat tacos, we go with the sir of the tacos, we bought flowers with the sir of flowers etc.

The products give identity to the merchants that is why I made a video that shows how the merchants are taking the identity of the object.

This video was projected on the market for a week.

4.- VERY FRAGILE

In Latin America,  There are many disappearances and deaths that are happening because of government or machismo, this installation was made after collecting some definitions about what it means to be a woman for people over 40 years in my social context, and in concunclution a woman in my social context is something fragile, that wears dress and has to be respected until it marries, from these absurd specific answers, it is how I have started since 2016 an investigation on the social phenomena that are happening in my context, State of Mexico one of the states with the highest death rate of women in my country.

 

 

5.- HUMAN VIOLENCE AND LIGITIMATION.

This is a video performance where I collect testimonies young women and men, under 24 years where I asked them, if at any time in their life they had felt like a woman, and I found that most of the time someone feels like a woman it relates it to accessories or violence, that is, we indirectly legitimize violence, believing that feeling female is something directly violent. One should not always feel woman or man if not before that, we are human.

6.- CHARACTERS OF AILMENT

I presented this video in an exhibition in London that had to do with the panorama of our social contexts so for the 5th anniversary of the death of a friend I made this visit, she was called Cecilia and was victim of feminicide in the state from Mexico, she was 16 years old, one day I saw her to talk about the party the following week, and two days later she disappeared, and two months later we found her dead. She was raped and attacked by the bus driver. The woman who appears in the video, is a friend who her father was unjustly imprisoned by the government and the audios are of multiple manifestations around murders of students, women and farmers in my country.

CECILIA PÉREZ BARGAS 

 

 referencias de audio:

 Video del CUEC UNAM en la marcha por Ayotzinapa

 

131 más uno, el origen del movimiento | LGVPLE

  

Jornada contra los feminicidios: “Ni una menos”, exigen en marcha

5.- ETERNAL SPRING

Last year Cecilia turned 7 years old and I was working in Mexico City, her death was a national news because she was attacked by a serial acesino that killed 6 women, after that the solution that the government found was to separate to women of men in public transport, but 8 years later the violence is not only towards women, but now there is a diversification and legitimation and although there are now pink sections to disguise violence, humans continue to disappear. In the video, you can read in Spanish, statistics on indices of different types of violence throughout the country.