Archive for the ‘Michelle Isava’ Tag
An artist caught collecting a cent from a drain, Trinidad, West Indies in a project called, “Proyecto Capital” is a collaboration of three artists, Alejandro Mina, Mar Molano and Michelle Isava
Source: Proyecto Capital
Este proyecto parte de la observaciòn. En los recorridos hechos caminando por la ciudad de Puerto España es posible encontrar una gran cantidad de monedas en el suelo, aparentemente insignificantes para la mirada local, pero para la mirada forànea resulta llamativo en comparacion con la ciudad de Bogota y otras ciudades. La idea es recolectar las monedas de la calle y registrar el proceso para luego hacer una instalaciòn que pretende despertar reflexiones frente a este gesto de arrojar y recoger para luego reinsertarlas en la sociedad cambiando el valor capital por el valor simbòlico.
Michelle Isava writes:
“We have collected 500 5-cent coins, 987 25-cent coins, 498 10-cent coins, 7 50-cent coins (although they are no longer in use)…. This installation seeks to give value to what is not valued here in Trinidad. To foreign eyes, coins on the streets are an absurd enigma that represents the extravagance and wealth of Trinidad and Tobago.”
Soon after their The Proyecto Capital slide presentation at Alice Yard on Friday 6th November 2009, Alice Yard announced that guests were free to participate by taking away the found money all gathered in pile located in the centre of the gallery floor. A man then walked to the installation, stooped down and preceded to collect the coins with a hand brush and dust scoop all the money in his bag. The Colombian artists began to panicked as they saw all their efforts being taken away. Only a Cent was left behind as a reminder to never give away your money so freely for the work you have done to earn it. He then offered the money to the audience by allowing them to take a hand full from his bag. Some did, others did declined and then he left Alice Yard with total sum of money estimated to be $300.00.
Miss Cassava, yeh eh see meh coming?
Me ain’t know why dem artise does do per-formance in middle of de road counting coins dem does find in nasty canal, deep pothole and drain. I does hope dem does wash dem finger and toe nail after. I big art installation and me scan d money already. Dem talk, dem show pict-ture, den dem clap. Talk over is show now to see. I see dis Cassava bleed inside she, when dem say TAKE DE MONEY IS FREE, is blight who say it and I obey he and full meh bag quick wit dust pan and brush. No pict-ture please.
Den all fight break out wit Alice Yard man who steups. Dem all looking like ass when realize is early. I say I offer dem de money and some take hand full and is right because de rest LEGALLY is mine. I take meh time, watch de woman bicycle at Brooklyn bar den is straight to Cassava Cassava and I ask she to put meh bag content in ah black plastic and plop it dead centre on she child bed like is show in de Alice Yard box. When Cassava reach she home, she bawl out, ” Oh Mami,” but is when she see de note and all de coins, is steups and laugh at de same time. If she open she el Espanol mout, is prison I sending she. Is lessen I teach dem whatless fools to give way prize so quick.
Aiming to martyrdom
Isava enactment of a Tango dance amidst her forceful violence
Michelle Isava has demonstrated that perseverance and will to become what you want to be, gets you to the place and draws in those who seek to help you on the way. Earlier this year during an impromptu interview, she stressed that artists must pick themselves up and do something rather than just waiting around for something to happen.
The videos shown here courtesy of the artist exhibits a powerful meaning. It demonstrated her strength and courage of just doing it performed in places that one would least expect. Isava toys with the self, she forces confinement, restraint, live sacrifice and remorse to the suffering of the female, the mother and the inner womb – Aiming to self martyrdom
Michelle Isava works from Trinidad and Tobago
Where I want to lead.
Isava, moments before her act at the launch of the Public Art project, Galvanize. Her performance was executed under a house, Belmont, Trinidad, W. I.
At the launch of the second Galvanize art project, a small gathering of young art students joined in to what appeared to be a casual barbecue event. Participant Michelle Isava closed the gathering with a performance that addressed the language of the female, herself, namely the Wanantra. Isava enacted a ritual that reflected an Earthy woman, and evoked a sort of inner exorcism as she inscribed with words, The hole is whole, with charcoal within the concentric circle rings she marked out at the beginning. She was warmly applauded after the 10 minute performance. Michelle Isava may be emulating or paying homage to the Cuban artist, Ana Mendieta. Mendieta’s work has been the core of feminist based martyrdom before her death in 1985. Her earthy motifs are quoted by many female artists in their attempt to find meaning to their womanhood and gender disembodiment but are treading on the memory of Mendieta’s foreboding truth, whether they fully understanding its impact and consequences as a result.
Ana Mendieta, 1948-1985 has been known for an artist who had strong grounding with the ideas that involved her work. She also produced works that mirrored her death. The performance artist used herself as a catalyst to evoke and evolve the female as casts, pyres visible and invisible to the eye. One of the most powerful elements was that she used her own hair to mask her gender and transform herself as herself while still keeping the beauty of the feminine. She also had striking and disturbing pieces that marked her death in a series of photographs of her face contorted onto a glass panel, a body mold saturated with a red dye and herself submerge into sand in a position that looked as if a body had fallen from the sky. These are daunting pieces because she lost her life from falling from a high rise. Therefore, the self reenactments in one’s work foretells their future in misfortune, luck or their omening end.
A study of illusion and reality, parody, humour and humanity
In this feinin, I felt traumatized, as if I was on my back in space waving my arms about, then I knew the end was near. Yet there was a beauty, chaotic, mirrored, self imposing and cocooned. In this self-portrait I was lost again, troubled by its facial resemblance, by its closeness to what I feared most. How could this be? Treason, marriage, mother, menstruation, lost…tired and blind in my eye