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    María Cañas | The Toro's Revenge | Davis Museum | The Davis Lisboa Mini-Museum of Contemporary Art

    Davis Museum

    por Davis Museum

    34 vistas

    April 1 - June 30, 2009

    María Cañas, "The Toro's Revenge", 2006, video, 00:02:00

    María Cañas, audiovisual artist and cannibal; art curator, collectionist and archivist; organiser of singular contests in the Internet having to do with appropriationism, with a Iberico ham as the suculent prize.
    Her work is experimental, unpredictable, chaotic and mordant.
    By means of iconographic cannibalism, she invites a reflection on the strange mixture of the fun, tremendismo, and lugubrious and sensual imagery which surrounds us.
    Video pieces, photomontages, online televisions... with a great sense of humour that oscillates between irony and the prank, subtlety and obscenity, this Sevillan woman deforms in the mirror of her reflections the clichés and stereotypes of the Andaluz and Spanish imaginary: reality shows, the universe of the Iberico pig, the Fiesta Nacional, folklorism...
    The work of María Cañas is a delirious visual torrent in which iconography and pornography, cinephagia and zoophilia go hand in hand.
    In Cañas proposes other possible modes of production and distribution of the art performance today; as in her film El Perfecto Cerdo (2005) -a delirious and excessive metadiscoursive exercise about the "swinelike character" of information nowadays- which is also a declaration of principles: if we can make good use of everything in the pig, so can we with the contemporary image, wherever it comes from.
    Her documentary scratches and collages, of the sci-fi-surrealist genre, under the notion of a cinema without limits, reach a large variety of narrative trajectories (false documentary, music video, vj, film essay, video performance, video art, found footage, home video...) and attempt to explore the hidden truth of images.
    Cañas has found in appropriationism and double linking (an image or an idea that refers to another previously known) rich soil for meta-artistic reflection. Following this thread, she generates pieces that refer to others, to illuminate and/or pervert them.
    Iconoclast, uninhibited, audacious and incorrect, many times excessive.