presence, our configuration, a large file, the receptacle. That is
also part of the concept.
MCB: “Cuestión de piel” also questioned the functionality of
objects. A chair without a seat, for example, doesn’t serve any use;
it becomes an art piece. Heidegger spoke of the substantial difference between the mere thing, the tool, and the work of art.
MA: Functionality, the roles of things, can vary, move, and disarm.
I believe that for something to become a work of art, it must
be transformed with signs of a world of its own; at the same time,
these meanings are part of the artist’s visual narrative. That operation, the change, must be anchored with or in some material that
relates to or belongs to the form with which you are working. The
chair that you referred to may have had a leather seat; I just combined it with something that belonged to it in a strange way. And
even if it hadn’t been made of skin, the bodies it held were shaped
by skin. Then, I decided to show the skins in long strips.
MCB: Architecture is another central theme in your work. You establish a parallel between the skin that contains us and the buildings
that we construct as a “second skin,” for refuge. How does this link
become evident in the work? I think of the “Museum” series and
your actions on façades and inside buildings slated for demolition.
MA: Buildings are also our skins, like the city, the social worlds
to which we belong. All those “wraps” are furs. Within them, we
constitute ourselves. In the series of architectural plans for contemporary art museums, I decided to draw with black horse bristles,
making a parallel with the black of the line used in real plans.
It would be like making the “skin” of the buildings with skin. The
arrangement of the bristles refers to the idea of “models” hanging
as pictures; I was also thinking about the limits of these legiti-
mating constructions. Here, I am interested in the drama of black
and white, the friction caused by the encounter of materials—
foam board (synthetic) confronting bristles (organic). Hair delin-
eates a malleable and imprecise line, marking the territory and
remains of a body, creating and revealing another body.
I experience the actions as offerings in thanks for the shelter provided by those buildings. They occur in moments before demolition.
Continuing with the idea of the skin that contains us, they represent the beings who once inhabited those places. For example,
Oculo consists of a series of actions in darkened spaces, where I
pierce the ceiling or walls so natural light penetrates. These holes
are like pores, allowing the inside to communicate with the outside.
I have been developing this work since 2009. I am attracted by the
hazard that comes with every action, the unique experience. Spaces
are unique—how they were built, the materials that were used,
Left: Santa Isabel 52, 2008. Horse bristles and foam board, 100 x 70 x 12 cm.
Above: S/T, 2008. Cow and sheep leather, glass, and MDF, 87 x 47 x 205 cm.
Below: S/T, 2008. Cotton fabric and stainless steel, approx. 63 x 200 x 70 cm.