Son[i]a #364 Maria José Arjona
- 00:01 La vida, la performance de larga duración y el museo: Maria Teresa Hincapié y "En silencio pero juntos"
- 03:39 El reto más grande al que se puede enfrentar un performer es al tiempo
- 10:13 Parar 365 huevos: de lo coreográfico a la performance de larga duración
- 11:52 Consuelo Pabón > Deleuze > Butoh
- 12:25 La performance no es una técnica: conocer a Maria Teresa Hincapié
- 12:02 Lo coreográfico desde lo político
- 16:02 El tiempo es político: mediar temporalidades en el museo
- 16:56 Desborde de las materias, desborde de los cuerpos
- 21:25 Subversiones del tiempo: proliferar calladamente y romper con del lugar hegemónico del artista
- 25:25 Cosas del más allá: archivos de futuro
- 31:50 Otras notas sobre "Como es adentro es afuera"
- 34:26 Proteger el oráculo de la "musealización"
- 37:35 Traducir el oráculo en la pandemia: el cuerpo es oracular
- 41:55 Instrucciones no, gestos, interpretaciones, traducciones...
- 43:40 Diagramas
- 48:04 El oráculo en el cielo: la frontera sur y norte de Bogotá
- 51:01 Un hombre de ciencia y un brujo
- 54:34 El diagrama en movimiento para construir comunidades y con el cuerpo
- 57:03 El texto y el lenguaje de la performance
- 58:21 "Espíritu": repertorio de gestos a ciegas
- 60:29 Nos da pánico el cuerpo, nos da pánico que otro nos conmueva
- 65:15 Devenir animal: los lobos, la manada, los cuervos y migrar
- 69:30 "Avistamientos": regreso a Colombia con las águilas
- 74:15 "Vires": instancias de poder y un diamante en la boca
- 77:45 La fuerza
- 88:25 Sobre la suerte
- 84:07 Un cuerpo que afirma
- 89:26 La gran belleza de Maria Teresa Hincapié: la vuelta a la vida, al arte...
With a career spanning several decades of practice and exchanges under her belt, Maria José Arjona uses durational performance to explore a body suspended on the brink of the abyss in an affirmative way. Her repertoire of gestures is part of a large archive that is always moving and changing, often influenced by the history of performance, but always alive. An archive that is renewed with each action, each substance, each journey, each organism, each human or non-human being. In her work, duration—that is, the time of the performance—becomes the time of the artist’s body. And this time runs through everything. In the same way, life runs through matter, it overspills the boundaries of choreography and of any heterodox vision of reality, it overspills conventional ways of being in the art institution.
In her journeys and her early morning walks, things find her. Then, they sometimes become oracles, infinite translations of other things, signs of a time to come. And in her becoming-animal, to borrow from Deleuze, Arjona recognises herself in a pack of wolves, in the mutualism of crows, and in the migratory eagles that travel with her, north to south and south to north, finding her, again and again, in her projects. Often to protect her, sometimes as symbols with which to elude boundaries and fixed identities.
In this podcast, Maria José Arjona looks forward and back, mapping out an invisible chart of processes, actions, and desires, connecting her solo work and her need collapse the politics of time with other artists, by subverting institutional time: What happens to a performance and a performer if their work involves spending eight hours in a museum?