Life should blow up in our faces more often…
Women have been murdered at the rate of two a week for the past 10 years and as women we still have to defend and justify ourselves to the people who listen to us. But let’s not forget to hold a minute of silence outside the town hall after every death.
We go out and celebrate football in our hundreds of thousands. We eat the plastic we throw into the stomachs of the fish that we have for supper. We sell each other our flats and apartments at prices we couldn’t afford ourselves and then we campaign against tourism. Our friends have become politicians and now live in offices.
We women don’t “lose” our lives; we are murdered. Let’s start by calling things by their proper name.
We need to lose our fear of words such as murder, suicide, death, pisstake, dry shit, metastasis, leukemia, baldness, fatness, spots, hemorrhoids, poo, choking, disdain, abortion, euthanasia, polygamy, wombs for rent, adultery, vomit, dry snot, colonoscopy and love.
We should talk about our apathy, about the actions of the little people that are changing the world bit by bit, about our abandonment, about the hope that remains, about love, about lack of love, about my despotism that no one knows about but some have to suffer, about violence, about my violence, about your violence…
….life should blow up in our faces more often.
Agnès Mateus, Barcelona 1967.
Performer and multidisciplinary artist, she has worked with Juan Navarro, Roger Bernat, Rodrigo García and Simona Levi, and continues to collaborate with some of them on various projects. She studied Journalism and theatre simultaneously, until she entered the world of performance under the aegis of Txiqui Barraondo and Manuel Lillo in Barcelona. She then combined drama and dance studies. Her career gained definition in 2006, when the Colectivo General Eléctrica was created. Agnés was a core member of this group and worked with them until its dissolution eight years later.
Quim Tarrida, Barcelona 1967.
Visual artist, primarily but also a multidisciplinary artist with neopop aesthetic influenced by conceptual art. He began drawing comics in the mid 80s, creating his own universe (Mundo Subcutáneo). Aside from artistic work linked to music and performance, he also produces photographs, videos, and other two- and three-dimensional art in which he establishes links with the universe of lost childhood, with a fascination for toys, for what is organic, for comics. Tarrida works in the grey area between the playful element of ersatz children’s toys and weaponry, highlighting the thin line that separates each reality from the other. Lately, part of his work has had more to do with sound art, contemporary music and sound actions, notably concerts in which he uses electronic musical toys.
