In 2000, they curated Zona F, an exhibition about the influence of feminisms in contemporary artistic practice. Recurrent interests for them are the gendered politics of space, and the construction of masculinity outside the male body. In addition to several solo museum and private gallery exhibitions, their work has been included in many group shows, including Monocanal at the Museo Nacional Centro de Arte Reina Sofa (Madrid, 2003), Cooling Out. On the paradox of feminism at the Glucksman Gallery in Cork (Ireland, 2006), Don’t Call it Performance at Museo del Barrio in New York (2004), and Trans Sexual Express at Centre d’art Santa Monica (Barcelona, 2001). They have been invited to participate in L’oeil cran ou la nouvelle image: Cent vidos pour repenser le monde, at the Casino Luxembourg-Forum d’art contemporain (Luxemburg), a major international survey of video works. In 2007, their work was featured in Global Feminisms, a transnational exhibition of 88 feminist artists organized by the Brooklyn Museum.
Feminist Artist Statement
Working in collaboration was a point of departure to highlight the implicit contradictions that survive in an art sphere that still associates authorship with the romantic ideal of individual creation. Our work has also focused on an analysis of the spaces where alternative experiences of living and/or behaving are allowed to exist, either in an open or hidden manner, therefore addressing the gendered politics of space and architecture design. Sin título (Utopía) offer a counterview to the happy, colourful images of Hockneys’ California, but the swimming pools portrayed there are closer to post-AIDS 90s. Other works have concentrated in a representation that looks for transitional moments, like bars and discotheques in the absence of bodies, after the party has ended, or movie theaters.
Another recurrent interest for us is related to contradictory aspects in the construction of masculinity and with an exploration for new models of beauty. We believe that cinema could be considered as one of the most important “schools of behaviour” in our culture, operating simultaneously as screen and mirror, and we have used it to reveal some stereotypes that work in the production of dominant masculinity, also dealing with the possibility of masculinity as a construction outside the male body.
The work Un beso, shown in Global Feminisms, is a conceptually complex but formally direct self-portrait. The video reflects on the paradoxes existing in human relationships and the dynamics that operate in collaboration. The use of black and white recalls the performative video pieces in the seventies, but here the scene appears fragmented, whereas the two faces kissing on the screen seem to be fighting to occupy its centre while escaping the spectator’s gaze, a spectator whose visual pleasure is restricted by a violent discussion.