Metaphorically speaking this piece highlights the importance of France in relation to what we understand in the West as freedom thanks to the French Revolution, constituting it (freedom) as one of the fundamental rights of any human being. Simultaneously, it demonstrates the difficulty of this principle under which we all have the right to life, to freedom and security and at this moment, due to the political climate of the world, they are denied to populations migrating from third world nations.
\n\n
\n\nArticle 3. (Universal Declaration of Human Rights) Every individual has the right to life, liberty and the security of his person.
\n\n\n\n
The body appearing in this action does not remain in denial but rather attempts to achieve freedom. A basic survival exercise in which the idea of territory seems to vanish and where the body, as a result of its own denial of the fundamental right to freedom, undertakes a search to re-signify the word itself.
\n\nTHE FREQUENCIES I AM MADE OFF
\n\nWinner of the Creative grant from The Ministry Of Culture Of Colombia
\n\nDance Biennale 2017 / Cali-Colombia
\n\n\n\n
"It is a matter of tracing, in a region of undifferentiated activity, the plurality of waves of variation that produce the creative power of a body, which is thought of only as an intensive threshold of forces" G. DELEUZE.
\n\n\n\n
"The frequencies that I am made off", is a project that aims to find the points of contact between dance and performance to generate a space where the body is explored as a singularity in relationship with time and the production/emergence of sound and texts. The meaning of these elements is expanded through long-term actions where sound production arises, precisely, from the infinite repetition of simplemovements, the close contact with elements (sand-dust-clothing) and the alternation with technology (loopers,voice pedals,synthesizers, etc)
\n\n
\n\nThe piece is divided in two phases:
\n\nThe Oracle (Rehearsals, sound composition, videos, installations and experimentation at studio)
\n\nThe Shadow ( Performance for the Dance Biennale)
\n\n.
","stylesMapId":"CK_EDITOR_PARAGRAPH_STYLES","linkList":[]},"dataItem-jxialo6r":{"type":"TPAWidget","id":"dataItem-jxialo6r","metaData":{"isPreset":false,"schemaVersion":"1.0","isHidden":false},"applicationId":"3233","appDefinitionId":"14271d6f-ba62-d045-549b-ab972ae1f70e","referenceId":"64636251-d0e5-405a-b6a1-ab66d9b72f8c","widgetId":"142bb34d-3439-576a-7118-683e690a1e0d"},"dataItem-jxibzma2":{"type":"VideoPlayer","id":"dataItem-jxibzma2","metaData":{"isPreset":false,"schemaVersion":"1.0","isHidden":false},"videoTitle":"","description":"","videoType":"vimeo","videoUrl":"https://vimeo.com/290327188"},"dataItem-jxic0g5z":{"type":"VideoPlayer","id":"dataItem-jxic0g5z","metaData":{"isPreset":false,"schemaVersion":"1.0","isHidden":false},"videoTitle":"","description":"","videoType":"vimeo","videoUrl":"https://vimeo.com/305866943"},"dataItem-jxicle15":{"type":"VideoPlayer","id":"dataItem-jxicle15","metaData":{"isPreset":false,"schemaVersion":"1.0","isHidden":false},"videoTitle":"","description":"","videoType":"vimeo","videoUrl":"https://vimeo.com/282514624"},"dataItem-jxiclrwz":{"type":"StyledText","id":"dataItem-jxiclrwz","metaData":{"isPreset":false,"schemaVersion":"1.0","isHidden":false},"text":"Agent/Encoding/Flow is a transcription of the Morse code into body language. The Morse code is a system of transcription of its own – the first adopted by today’s digital communication – consisting in a series of points, lines and intervals transmitted through intermittent electrical impulses that generate a sound which, once received, is re-translated by the receiver into language.
\n\n
\n\nAgent/Encoding/Flow recuperates this “ancient” code system to translate the thirty articles that comprise the “Universal Declaration of Human Rights” (1948) into a visual text, interpreted simultaneously with the choreography of Marvel Benavides and its deconstruction by Maria José Arjona who, through antithetic but complimentary modes, translate the signs of the Morse alphabet into pure gesture and movement.
\n\n
\n\nThe “Universal Declaration of Human Rights” (1948) is an ethical code of fundamental historic importance: the first to universally ratify the rights that every human being is entitled to, destination point of a long philosophical debate that from classical times has reached our day and whose principles are now considered inalienable by most civilized nations but that are, still today, often infringed …
\n\n
\n\nAgent/Encoding/Flow is a metaphoric tale of two stories, two bodies and two different presences, each endowed with a marked identity capable of sympathetically and physically interacting with the other, creating an estranging short circuit between choreography and performance gesture. The result is a cockeyed look that emerges from the characteristics of a double vision which, by crossing the scene, gives rise to an action comprised of reverberations, juxtapositions, interactions and contrasts where body language once again returns to being symbolic, a receptor of connectivity and “codification agent of a flow” that becomes social, political and cultural exchange.
\n\nEugenio Viola
\n\n
","stylesMapId":"CK_EDITOR_PARAGRAPH_STYLES","linkList":[]},"dataItem-jxid86g9":{"type":"StyledText","id":"dataItem-jxid86g9","metaData":{"isPreset":false,"schemaVersion":"1.0","isHidden":false},"text":"AGENT/ ENCODING/ FLOW
\n\nPrometeo Gallery 2014/ Milano
\n\n
\n\nMaria José Arjona’s performance research is aimed at exploring the potential of the body meant as a live entity capable of feeling, of acting and reacting. A body that becomes a powerful means of visual communication, an exchange of symbolic energy between the artist and the audience, and a conscious producer of meaning. It is a body that, through minimal, non-hierarchized gestures, investigates the concepts of space and time. A “universal” body, removed from its own personal experience and from any particular social or political context of belonging. For this reason, Arjona’s actions always maintain a composed metaphorical quality, differently from the practice of other artists coming from the Latin American continent who use the performance as a privileged instrument for expression, often re-enacting an even physical violence on their own bodies.
\n\n
","stylesMapId":"CK_EDITOR_PARAGRAPH_STYLES","linkList":[]},"dataItem-jxidnhtq":{"type":"TPAWidget","id":"dataItem-jxidnhtq","metaData":{"isPreset":false,"schemaVersion":"1.0","isHidden":false},"applicationId":"3233","appDefinitionId":"14271d6f-ba62-d045-549b-ab972ae1f70e","referenceId":"23f0de38-a2d0-4950-a706-dc4d1f2e448a","widgetId":"142bb34d-3439-576a-7118-683e690a1e0d"},"dataItem-jxieaanb":{"type":"VideoPlayer","id":"dataItem-jxieaanb","metaData":{"isPreset":false,"schemaVersion":"1.0","isHidden":false},"videoTitle":"","description":"","videoType":"vimeo","videoUrl":"https://vimeo.com/345266138"},"dataItem-jxiebmkg":{"type":"StyledText","id":"dataItem-jxiebmkg","metaData":{"isPreset":false,"schemaVersion":"1.0","isHidden":false},"text":"I always think residences offer a space to reconnect with something that one had forgotten. I have been in different places and I think, for me, what is relevant, is not to find in this new space "something" that connects with past ideas previous to my arrival; it is rather to arrive to find some-thing, some-thing that I did not know and that moves me in other directions.
\n\nGalapagos, symbolically speaking, allowed myself to understand duration from a different perspective: Duration resides not in the resistance to but in a kind of succession of breaks or spaces of silence (a rhythm) and this materialized clearly when the performance presented in Quito.
","stylesMapId":"CK_EDITOR_PARAGRAPH_STYLES","linkList":[]},"dataItem-jxj5g8br":{"type":"StyledText","id":"dataItem-jxj5g8br","metaData":{"isPreset":false,"schemaVersion":"1.0","isHidden":false},"text":"LIFE LINE
\n\nCenter For Contemporary Art Of Quito 2016/Quito-Ecuador
\n\nMuseum Of Modern Art Of Bogota 2018/Bogota-Colombia
\n\nMuseum Of Modern Att Of Medellin 2019/Medellin-Colombia
\n\nArteba 2019/ Buenos Aires-Argentina
\n\n
\n\nMy process does not pretend to generate specific answers but rather to articulate multiple questions about time. I am interested in the process, the sum of forces and the effect that summatory action has on the body.
\n\n\n\n
Galapagos then becomes a nerve/center where different interests are connected: The body in its constant becoming animal, sound as topographic frequency and experience as a place where forces construct the landscape, not only as a visual composition but as result of interactive instances through the body.
","stylesMapId":"CK_EDITOR_PARAGRAPH_STYLES","linkList":[]},"dataItem-jxj5uh4e":{"type":"StyledText","id":"dataItem-jxj5uh4e","metaData":{"isPreset":false,"schemaVersion":"1.0","isHidden":false},"text":"SECOND MESSENGER
\n\nDoit 2013 / Manchester-UK
\n\n
\n\nSecond Messenger is a personal homage to Maria teresa Hincapié (1956-2008), one of pioneers of performance art in Colombia and my mentor for several years.
\n\n\n\n
The meaning of sacredness/sacred was critical to Hincapie’s practice. In the instructions she left, selected for DOiT 2013, she wanted a second body to transmit her message to the audience after months of walking from Bogota to Tierra Adentro and back to Bogota. Tierra Adentro is a sacred place for natives of the region becoming an archeological site and part of the natural parks of Colombia.
\n\n
\nTo walk, for Hincapie, as well as for many practitioners of Buddhism, allowed her to enter a different dimension of her body and connect to the space around her. It was a meditation. In this state of consciousness while moving, the artist created a resistance to speed as well as to violence and capitalism.
\nMy intention to re-articulate her work and not to re-enact her piece, provided a methodology to connect cities with very different perceptions of what sacredness/sacred could mean and/or is experienced. I wanted to propose, a “second messenger”, that could deliver a series of short texts I wrote while involved in a sacred ritual in a remote location at el Putumayo (Souther part of Colombia). I wanted to use technology (which was something Hincapie was opposed to) to communicate with Manchester and replace my body with a sacred bird: A falcon or a Volture.
\n
\n
In the work of Maria José Arjona the body interacts with space to create an experience, which bypasses corporeality with cognitive responses, where the observer becomes the catalyst of a sensorial exchange, beyond the borders between identity and representation. This is an engaged practice that the Colombian artist presents, ready to violate and transform the limits imposed by the society on the individuals, and caused by violence and fear, some sensations which, unfortunately, still exist in contemporary societies.
\n\n
\n\n“All the others in me” is a performance functioning as a bridge between misunderstandings. It is a bridge because it doesn’t point at anything specific, it doesn’t resolve the misunderstanding but rather, gives a panoramic, a view, on how we perceive otherness and differences. Distance and cultural diversity are intentionally created, augmented, altered and manipulated by mass media and other control systems, placing people in a position of submission standardized by the distorting lens of what we call “society of information”.
\n
\n“All the others in me” points at this transition of thoughts that we continuously see, live and absorb,
\nbut never question. The performance offers one of the most syncretic visions among the numerous stereotypes about the feminine body and its perception in the western and non-western
\nsocieties.
\n
\nThe artist’s body proposes itself as a result of a metis entity which is continuously in transit, it undertakes a metaphorical travel through a series of possible and never definitive identities to remember, another time, that art exists to exceed differences and accept the diversities.
\n
\nEugenio Viola
ALL THE OTHERS IN ME
\n\nMarrakech Biennial 2012
\n\n
\n\nIn the works of Maria Jose Arjona, the body has always a central place, it is a powerful element of the visual communication, energy exchange and a generator of significations. It is a body experimenting with the space and time through repetitive and non hierarchical movements.Our present is passed-through by some complicated phenomena such as the multiculturalism, leading to overpass the traditional concepts of identity, some phenomena that promote a symbiotic and fusional connection with the Other. These are inescapable processes ossified by the society of mass media and by the virtual hypertext.
\n\n\n\n
","stylesMapId":"CK_EDITOR_PARAGRAPH_STYLES","linkList":[]},"dataItem-jxj6yktb":{"type":"VideoPlayer","id":"dataItem-jxj6yktb","metaData":{"isPreset":false,"schemaVersion":"1.0","isHidden":false},"videoTitle":"","description":"","videoType":"vimeo","videoUrl":"https://vimeo.com/34972781"},"dataItem-jxj731vv":{"type":"StyledText","id":"dataItem-jxj731vv","metaData":{"isPreset":false,"schemaVersion":"1.0","isHidden":false},"text":"RIGHT AT THE CENTER THERE IS SILENCE
\n\nQuadrilateral Biennial of Croatia 2011
\n\nMuseum of Modern And Contemporary Art Of Rijeka / Rijeka-Croatia
\n\nFaena Art Center 2015 / Buenos Aires-Argentina
\n\nLes Abattoirs 2017/ Toulouse-France
\n\n
\n\nRight at the center there is Silence is a long durational performance addressing all possible connotations and meanings of silence within by pushing its boundaries through it duration and the context where it would be exhibited (Art Fair).
\n
\nThe piece consists of four (4) microphone stands, each of them holding a razor blade at the end and at the high of the performers neck almost touching it. Each stand with its razor addresses a fundamental characteristic of sound: It is atmospheric and surrounds everything and everybody. The blades replacing the microphone at the end of each stand denote a specific danger in silence or speaking; if the performer moves, talks or produces any sound her neck will be cut by a blade. As a counter action, the idea is to address stillness as a possible way of resistance and motion in order to acquire balance within (silence).
A verticality further amplified downwards by a sheet of water covering the entire floor, which operates like a mirror, doubling the pit. But we could also say that another kind of figure is being delineated as well: the isolated body of the performer, hovering above the earth, as in a stilled flight, or as if in an upward fall. Jean-Luc Nancy writes, “the image is the distinct”. Spinning sound in the pit, hovering in mid-air, deeply concentrated on her task, almost self-absorbed, confined, and yet also in a kind of flight, The artist's presence certainly corresponds to this definition of image as detachment. In this sense, she is able to somehow metamorphose her body into a quasi-object.
\n\n\n\n
However, other elements in the situation prevent her to become pure image, a kind of non-representational theatricality which anchors her flight back to the matters in place: her precarious, certainly dangerous predicament of being suspended ten meters above hard ground inevitably adds a sense of urgency to her presence and actions. Precarious suspension sutures MJA’s presence to the situation, rather than detaches her as image. It reminds us how every single living body is contoured, indeed drawn, by the abyss of mortality.
","stylesMapId":"CK_EDITOR_PARAGRAPH_STYLES","linkList":[]},"dataItem-jxj8n7m3":{"type":"StyledText","id":"dataItem-jxj8n7m3","metaData":{"isPreset":false,"schemaVersion":"1.0","isHidden":false},"text":"LINEAMENTUM
\n\nGaleria Alcaudrado 2009 / Bogota-Colombia
\n\n\n\n
Lineamentum (2009), makes literal the ways bodies and space entangle into a consistent line of flight in the pit of time. What exactly is being delineated in this piece, where Arjona sits ten meters above ground on a chair fixed to the concrete wall of a storage silo for barley in a deactivated beer factory in Bogotá? The simplest answer would be to say that what is being delineated, contoured, is the metal lip of a Tibetan bowl, that Arjona brushes with a wooden stick, producing a high-frequency sound, which reverberates and propagates throughout the silo as it is amplified within the vast vertical emptiness.
","stylesMapId":"CK_EDITOR_PARAGRAPH_STYLES","linkList":[]},"dataItem-jxj96lih":{"type":"VideoPlayer","id":"dataItem-jxj96lih","metaData":{"isPreset":false,"schemaVersion":"1.0","isHidden":false},"videoTitle":"","description":"","videoType":"youtube","videoUrl":"https://www.youtube.com/watch?v=EksRMEjZC_8"},"dataItem-jxj99dar":{"type":"StyledText","id":"dataItem-jxj99dar","metaData":{"isPreset":false,"schemaVersion":"1.0","isHidden":false},"text":" What matters is how MJA’s actions and effort show that both writing and history are clamorous events of semi-random decisions, semi-random collisions, even if those are produced by a fully committed, fully articulated, agential body that will not give up the effort, never give up her task. Meanwhile MJA’s hands become increasingly covered with a thick, viscous black layer of ink – just as her clothes and sections of the floor. As hours pass, as days go by, the overlaying of impact marks, of stains and smudges, with MJA’s visible commitment and effort despite her visible exhaustion, and with the continuous clanging and the continuous panting – start to impress upon the viewer a very simple, and fundamental, truth: there is no writing of history that does not require also the creation of an exhaustedly committed body, a body that will not give up the task, despite the randomness of it all, despite the hardness of it all. Including the hardness of taking up (with) time.
\n
\n
HISTORY
\n\nGuanzhou Triennial 2009 /Guangzhou-China
\n\n
\n\nFor hours, for several days, MJA picks up the rubber balls, sometimes one at the time, sometimes two at once, dips them into the black ink, and then throws them violently against the white leaning planks. She moves quickly, with agility. She takes no rest. With each pitch she must ensure enough force so that each imprint can become yet another cypher in a potentially undecipherable narrative, even by its author. But deciphering is not really the point.
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