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Letters Written ...

San Salvador 9 de Junio del 2008
Querida Alanna:

En respuesta a los documentos que me sent the last day of June of this year, after studying some of these writings, carefully, I felt inclined to make the following comments:
"I do not doubt that in life as in art ( and if we start from the thesis of Oscar Wilde, that life imitates art), everything is consciousness.

Women of biographies and sent me pictures of his works coincide in many respects intentional: to take the needs of each artist to assert the necessity for conscious and unconscious in a metaphysical world, allowing us to live and experiencing the plane of the here and now. Although you mentioned it to me: the delicacy with which to manage the self-referentiality .... but definitely a self-referential piece leads to assume a peculiar way of observing a peculiar way of seeing, feeling and doing life.
Performance art responds to the performer or artist, as an end in itself capable of intervening in the everyday context of the other, since we left that we are sentient beings, individuals with a specific social relation, then art is responding to this reference , and from the peculiar way to say, it becomes a political speech, which violates both the executor be issued, so if this occurs transgesión genuinely self, happens as if by magic, on the other.

The magic for me in art is an issue that occurs almost shamanic ritual and symbolic level for which I quote the following: "The myth of origin has an" individual "production and transmission are required and socially determined, because why your result will be shown in their rehabilitation. Put another way, the myth has no author, belongs to the social group that relates, is not subject to any transcription and its essence is the trasnformación. A repeat mitante believe it .. GCA the self is reduced to that place of transit, confluence and passage. "Claude Levi-Strauss, Myth and Meaning

With regard to artistic work and personally, based on my readings charges following happens: if, according to Levy Strauss at the time of the myth, the self in this case: performing artists of performance or action, becomes the medium that transforms and denotes a code universal historical memory and collective unconscious ... in a constant unmasking of previous symbols that arise as aspects or representations of fact, Jones argues in his lecture Enrst read to Piscoanalítica British society, in November 1953 on the Theory of Symbolism " If the word symbolism is taken in its broadest sense, is that the item contains most of the development of civilization. What is it therefore but an endless series of evolutionary substitutions, a ceaseless replace an idea, an interest, an ability or a tendency for others? The progress of the human mind, considering GM is is not (as commonly thought) in a number of additions, added from outside, but in the following two processes: first, extension or transfer of interest and understanding from more primitive and simple ideas, etc. a most difficult and complex ideas, in a sense are continuations of those, and symbolize, and on the other hand, the constant exposure of previous symbols, the recognition that although they were previously considered as literally true, in fact were only aspects or representations of fact, the only representations that were capable minds at the time for emotional or intellectual. "

-Is There a ritualistic aspect? J. Antonine
"Sure ... I WAS thinking of everyday rituals like eating and bathing. But Also Other rituals. Certainly the Eucharist is about eating the body, so That Also Comes to mind. "

Through the texts that you sent me, and some other references that I have acquired over time, always delving into the neglected shelves of libraries or museums, exclusive shopping in particular is where this type of literature delicate eye on complex nature artists, self-reflexive phenomenological intimately immersed in human existence. Within these ranges of reference, I've always felt drawn to the work of Frida Kahlo, who personally represents: one of the icons of the first women artists in Latin America that is self-registration and document an almost performative, with the use of brush and canvas, revealing and exposing the unconscious force where pain is the vehicle of redemption, and the sense of duality is the connection to absolute pleasure, between humor and evil.
Nietzsche says in The Birth of Tragedy: "Every artist is an imitator, and Apollo particular artist or an artist's dream Dionysian intoxication, or end (as in Greek tragedy), while an artist of intoxication and sleep with whom we imagine more or less disintegrated, in the binge Dionysian and mystical self-alienation, alone and away from exalted choirs at the time under the influence of Apollonian dream, expresses its own state, ie the unit closest to the bottom of the world, an image analog dream. "

Because I quote these things .... The tragedy! Hence the origin of my own melodramas which questioned me, but I've come to understand without them there would be no catharsis, catharsis necessary for the purification of the soul and calming the mind.
On a recent visit to your beautiful land in the Caribbean Dominican, I was able to talk long hours with Amable Lopez Melendez, curator of the Museum of Modern Art, who will surely remember and remind you, now I understand when they told me that resembled Dominican El Salvador, as a petit country with so much contrast and strength.
For in that wonderful conversation we had, reaffirmed the value of the force that holds the body of the performer artist, the involvement of social responsibility it takes to lead its energy in a space loaded with a certain intrinsic absolute intention, and a karmic baggage on a given line of time.

definitely carries its light body, also transfers magic or duality, Ana Mendieta knew the potential was in the presence from the solution, the absence and the inviolability of existing, his exile from his own body boundaries, violated the boundaries of the ritual sense of longing for a lost paradise, and metaphysical internal, external and palpable. "I Have Tried to reveal the relation entre the space of loss exists in Which Mendieta's work, the space of exile in Which she exists, and the border That We Occupy" quote of Peggy Phelan in the Book Where is Ana Mendieta by Jane Blocker.
“The title is contradictory and implies that elsewhere is right here—or the elsewhere within. It also has echoes
of the famous declaration by Rimbaud: "Je est un autre" (I is another). Most of the artists in the exhibition inhabit
an elsewhere or speak from a critical position outside the status quo. I suppose it is another way to make an
oblique reference to the "Other" without using that very old-fashioned word. I am using this very loosely. Luce Irigaray talks about women's permanent state of exile, as they essentially exist in a culture and a language that
they have not played a role in shaping. Others, because of their sexual orientation, color, or cultural background,
can, if you like, be seen as literally or metaphorically in a similar state of exile”. Entrevista con Mona Hatoum.

Para mí la relación entre rito y performance no están del todo separadas, y no creo que esto abone nada nuevo para la teoría del performance, si es que existe alguna pero, te escribo estas reflexiones como parte de una necesidad de reafirmarme. Si lo vemos desde el punto de vista de que : un performance pertenece a un acto , una acción con un contenido de transferencia energética de implicación y resonancia social por medio de componentes de valor simbólico, por lo tanto = ritual; y éste contenido de significados albergados en cada simbolismo ritual sunstentan is deep in the continuum of the collective unconscious that has been passed down from generation to generation and from culture to culture from ontological myths of humanity.

Levy That according to Strauss, in the case of the myth is what happens "The openness of history is assured by the innumerable ways to compose and recompose cells or cells mythological explanation, what were originally and mythological which demonstrates that using the same material, which basically is a type of material that belongs to the common heritage or common heritage of all groups, of all the clans or all languages a person can still get to develop an original story for each of them. "Myth and Meaning. Page 72.

This definitely shows that if art is the only metaphysical experience of man as Nietzche said, then the only way to pay something other than art: it is through this territory metaphysical self-conscious experience, and from this peculiarity of seeing the experience, then prepare the speech.
Within that biogarfías e IMAGES sent me, although I have not had enough time to delve into all of them but certainly I have been fascinated to discover wonderful work by artists not yet known, as Tracey Moffat, and his "violent nature of their relationship and the strange power that sees them. His works granted an important role to sound and make use of resources close to the paint to articulate the use of lights and shadows, color or composition. It also seeks inspiration from postcards, TV shows, movies Etc. series. His "photo - narratives" are a series of photographs that the artist often appears as the protagonist of his own personal history ."... (Alana Lockward text).

Other work that surprised me is the Sheemann Carolee; I love the cosntrucción of its parts, the strength of his body and the presence with which it is manifested "I am Both image maker and image. The Body May Remain erotic, sexual, Desire, Desiring, But it is as well votive: marked, Written over in a text of stroke and gesture female discovered by my creative will. "- Carolee Sheemann ......... ...


feel a great need to do, say, experiment with the body and the leit motif that gives strength to my life, this for me is just the beginning or access other female manifestations of consciousness ...
I wrote and I will follow looking, reading, living doing. Thanks for sharing your knowledge and your time with me.

With love and respect always


Alexia Miranda.