This play is a reflection on the (im)possibility of accepting diversity and the other. The fragmented body of the neoplasm—the fruit of unstable conditions—overcomes barriers, loves and denies itself and others, wanders around, forgetting its profession. It frequently and with pleasure divides, goes through dangerous palpation, questions the possibility of contact with the experience of the other. Poorly brought up but very successful, it invites us to a trans-species transition.
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Natalia González is a Bolivian artist whose video performances and installations are recordings of interactions in specific contexts. The recording tools used – lengths of steel, automated light, and shadows – configure events from which to consider the time/space contingency. Implied by her aesthetic, the slow and precarious nature of her works is intended to be a response to the conditioning involved in certain modern attitudes – namely things being exaggerated, spectacular, or quickly digested. The reconsideration of disarmingly simple notions leads to a reflective question: What is happening? Curated by Katherine Talcott
When
2011
Natalia González was born in 1978 in Bolivia and is a graduate of the Maryland Institute College of Art in Baltimore. Her work includes events and recorded responses to a specific place using accessible materials such as lamps, bricks, and string. She uses a video camera to document these activities as well as a tool for drawing. In this sense, the recording itself is the material, creating a sequence of images that are articulated in time. González has exhibited throughout Bolivia in Santa Cruz, La Paz, Cochabamba, and Sucre, as well as in the Washington/Baltimore area, Santiago, and Buenos Aires.
