Video-summary by MEGABEATS for CA2M

edition II
Thursday 9 June, 2011
CA2M, Madrid (Picnic Sessions)

We call veterans and newcomers to become involved in the alienated world of performance in our society from the inside, handling representative pieces and questioning the exclusivity of current artistic creation and the concept of originality.

Based on emblematic pieces in art history or one's own memory, we suggest a free interpretation of them to provide a present experience for both audience and artist. We are interested in works that derive from the feel or goals of the original piece and, through a wide range of reinterpretation, adapt it to a new context. Be it a subtle reproduction of the original or one that has undergone heavy modification. Our calls for submissions are open to any person or group of persons with or without experience in the field, interested in reinterpreting an existing work -no matter its original format- as performance or action.

Most people have not been in close contact with performance art or have had mainly contact with it through documentation. It is an example of the separation between contemporary art and contemporary society we wish to question, involving both audience and artists through presence and the experience. This proximity defines Reformance as well. Information on the original works is always provided, allowing the similarities and differences to speak for themselves.

Present and future
Through the open call for submissions in 2011 we received over seventy proposals from around the world. We chose the works we consider to be most interesting both individually and as part of the global frame of the festival. Thanks to the support of CA2M we hosted interesting local artistas like last year, but also an array of artists from far away (Barcelona, Ontario, Vienna and New York). As well as the virtual presence of two participants (Antwerp and Los Angeles). This second edition of the festival was a success and above all, quite an experience.

The selected works were shown in the Centro de Arte 2 de Mayo CA2M and its surroundings (Móstoles, Madrid) on Thursday 9 of June, 2011, as part of Picnic Sessions curated by José Salas and José Luis Villalobos. Luis Díaz Díaz was in charge of documenting the event and soon also videos will be available. Many thanks to everyone involver, María and Pablo specially.

The complete programme follows. Underneath, the first edition (2010). And soon... more Reformance.

Original piece
1,000,000 pennies

Artist: Gerald Ferguson

Date: 1979.
Location: Art Gallery of Nova Scotia, Halifax

This installation made of a pile of coins on the floor, one million pennies, is exhibited with no security measures. The work questions the value both of art and money. Despite being the most common currency in Canada, it's relevance in the economic circulation has been put in doubt and these coins are generally considered worthless objects. The re-contextualisation of the copper coins as a mountain of money, literally and simbolically (it is after all one thousand dollars) demonstrates its great monetary value juxtaposed to the everyday qualities of its elements. The viewer could wonder about stealing some of this unguarded money but it's cumbersome format would surely discourage anyone to try or show little can be gained with this action.


Artist: Josh Cleminson (Ontario)

Date: June 9, 2011
Duration: Eight hours
Location: the streets of Móstoles

It takes approximately one second to pick up a coin from the ground. If one was to pick up a penny every second for an entire hour, they'd be making 36€/hr, a remarkably higher amount than the average spanish wage.

Picking up a cent is considered a cheap or poor act, yet when done repeatedly can reveal itself as tremendously lucrative. If one were to spend a standard 8 hour work day doing this, it would result in 288€, hardly a cheap act considering the average wage in Spain is 633.30 Euros/month (2011).

Considering these notions, the artist spent eight hours spreading 0,01€ coins around the streets of Móstoles. As if it were a standard work day, he spent the time disseminating the coins one could hypothetically recollect in an awkward yet profitable act. Using the overlooked devices found in public spaces as a launching point; things that are seen constantly but discounted or disregarded, the artist wants to emphasize their social presence and generate a question on the value of art and money, just as Ferguson's installation did.

The action gave way to people collecting cents from the floor, activating a new attitude and activity towards the "worthless" euro cent.

Photography: Luis Díaz Díaz.

Original piece
Following Piece

Artist: Vito Acconci

Date: October 3 to 25, 1969
Duration: twenty three days
Location: the streets of Nueva York

The artist would randomly choose a person walking on the street, following them until a barrier of privacy separated the two. This would happen when the person entered a private space such as a house, a car, etc. The action could last a few minutes or several hours, depending on the subject movement: going inside public places like a restaurant or a movie theater would allow the "chase" to continue.

Acconci continued this activity with a person per day for twenty three days. He collected a written compendium of each of his followings, including notes on the person and route, later sending these documents to people involved in the art world.

Following Piece 2.0 - Everytrail

Artist: Sven Goyvaerts (Antwerp)

Date: 23 May to 14 June, 2011
Duration: twenty three days
Location: the streets of Antwerp and lobby of CA2M

The main idea behind Following Piece 2.0 – Everytrail is to take Acconci's work and update it through social network technologies, established in our present day. The trail taken in each following was published instantly on a map through the Everytrail application and an iPhone 3G. The route was then automatically shared on Facebook along with a brief description and a snapshot of the subject.

The project began before Reformance, on 23 May, and was finalised twenty three days later just as the original piece: on 14 June 2011. Thanks to current technology and the simple use of the Everytrail “widget”, the action took place in the city of Antwerp (Belgium) yet we could witness the update in real time, as well as being able to navigate through the archive of the project.

Visit Sven Goyvaerts' archive.

Photography: Luis Díaz Díaz.

Original piece
Aus der Mappe der Hundigkeit


Date: 1968
Location: the streets of Vienna

In Aus der Mappe der Hundigkeit (From the Portfolio of Doggedness), the artist walked her then partner Peter Weibel as a dog, on a leash, through a commercial area in the center of Vienna.

This image of subordination radicalised provocativelly and playfully the relationship between sexes, taking female liberation from the opression of man to an extreme point of view. As with many of her other works, controversy was in store and disapproval was the general reaction of those passing by.

This is not VALIE EXPORT?

Artists: Super Nase & Co (Vienna)

Date: June 9, 2011
Duration: 30 minutes turned into 90
Location: the streets of Móstoles

Inspired by the outrage provoked by EXPORT, the viennese collective Super Nase & Co repeated the action inverting female-male roles in a new image of submission. Forty years after the original work, inequality between men and women is still a current issue. Situations of injustice have become more visible and so-called "gender based violence" has taken a particular protagonism in crime-related news. This modification highlights the original problem that was implied: the subordination of female to male.

Although the results were hard to forsee, the piece had immediate repercussions in the town's population. Fifteen minutes into the walk, an outraged man would absolutely not allow the artists to continue on their way. A crowd of curious people did not take long to form around the scene, along with several local police cars, alarmed by neighbours calls of "a woman was being mistreated". Some voiced rumours about sexual slavery, the possibly Eastern-european origin of the blonde couple, others simply stood staring surprised or entertained... while the artists remained calmly anchored in their acion. He smoked a cigarette, she kept her head down (still on all fours). Once a boiling point was reached, we tried to explain what was happening to those who would listen, but after a long hour of discussions it was clear that continuing with the walk would not be possible: the piece was over.

This action is a part of the series This is not...? in which Super Nase & Co represent the works and lives of prominent artists, as well as politicians, television shows, etc. and juxtapose them with René Magritte's Ceci n'est pas une pipe (This is not a pipe), with which he brought forth questions on the boundaries and power of representation.

Photography: Luis Díaz Díaz.

Original piece
Bag Exchange

Artist: Larry Miller

Date: 1965

With these simple fluxus instructions, the artist proposed an excercise that could be performed or not, being the dissemination of the concept more important than it's own realisation.

Cambio de paquetes

Artist: AZ (Madrid)

Date: June 9, 2011
Duration: open (the entire evening)
Location: lobby of CA2M

Choose an object and put it inside a padded brown bag. Bring the package to “Reformance. Recycled performance festival” on June 9 to Centro de Arte Dos de Mayo. Upon entering CA2M, look for the package delivery point and leave your own. At the end of the festival, the packages will be randomly handed out to participants.

The above message was announced some days prior so the people visiting Reformance could decide to participate or not. The day of the festival, a package exchange point was enabled in the lobby of CA2M and each participant was given a number upon passing. This allowed them to collect a package, randomly selected, once the evening was over or whenever they decided to leave the building.

Photography: Luis Díaz Díaz.

Original piece

Artists: Marina Abramović y Ulay

Date: 1977
Duration: 3 hours approx.
Location: Galleria d’Arte Moderna. Milán, Italy

The now legendary couple formed by Marina Abramović and Ulay, naked and stoic, occupied the sides of a room passage, reducing the size of a threshold into the gallery space. Every visitor had no choice but to enter sideways, rubbing against the two bodies and having to decide which of them to face and which to turn their back to. Once through the passageway, the visitors became aware of their role upon discovering that their faces and reactions were being recorded and projected on the other side, for those inside to see. Abramović wanted to play with the concept of the artist as a door to the museum. The piece was meant to last six hours but had to be abandoned halfway due to police intervention.

IMP shift

Artist: Elana Katz (New York)

Date: June 9, 2011
Duration: 75 minutes
Location: entrance to CA2M

The artist hindered the entrance to the museum, naked and standing, but in this case alone. In front of her, a transparent glass surface. This surface offered the public an inside view - the view that one performer has of the other in the original piece. The audience that wished to enter the building would need to pass through the narrow space that remained, and was asked to choose one of three petitions made by the artist:

If your shoulders are at the height of my face, please hit my face with your shoulder.

Please step on my toes.

Please scrape my belly with something rough.

A worker from CA2M requested visitors to pass through the doorway in one of these ways. Katz's motivation for this reinterpretation of Imponderabilia comes from her personal experience of re-performing the original piece for three months. Along with a group of artists trained by Abramović herself, she worked in the retropsective show The Artist is Present (Museum of Modern Art, New York 2010) giving life to several well-known works by the artist.

Katz’s piece focuses upon the role that security staff played in controlling the participation/interaction of audience members in re-performances of Imponderabilia at the retrospective. IMP shift is the result of the artist’s experience with the audience when re-performing Imponderabilia; Katz observed how, despite the restrictions imposed upon audience interaction with the piece, certain “misbehaviors” occurred regularly: people stepped on her toes, scraped the skin of her belly, and hit her face with their shoulders. In IMP shift, the audience was requested to interact in these ways that security aimed to suppress during the retrospective. The piece thus questions the notion of what is considered correct audience behavior.

The title uses the abbreviator IMP with which MoMA reffered to the original piece in their internal scheduling, and the duration is the same as that of the re-performer's shifts during their work in the retrospective.

Photography: Luis Díaz Díaz.

Original piece
Work (Bell)

Artist: Atsuko Tanaka

Date: October 19 to 28, 1955
Duration: 2 minutes approx.
Location: 1st exhibition of Gutai Art, Ohara Kaikan Hall, Tokyo

Twenty electric alarm bells were wired together, two meters apart, on the floor of an exhibition space. A card stating “Please feel free to push the button, Atsuko Tanaka” was placed on the wall near the operating switch. The switch activated a sound relay that started with a bell at the viewerʼs feet, then moving along the line of twenty bells. The sound travelled away from the viewer, throughout the space of the building, then reversing and travelling back toward the viewer, ending at the first bell. The piece is activated only by a viewer, not the artist.

Tanaka did not intend to emphasize technology, but to acoustically measure space and put into play the perceived distances of spectators in relation to their position.

Reinterpretation of Work (Bell)

Artist: Margaret Honda (Los Angeles) and volunteers

Date: June 9, 2011
Duration: 30 minutes
Location: staircase of CA2M

A group of about twenty volunteers, previously formed, formed a line up the staircase of CA2M, each of them separated by a distance of about two meters. Armed with a mobile telephone and having downloaded the "Tanaka ringtone", sent by the artist from Los Angeles (Honda proposed this piece be realised without her presence being necessary, highlighting the autonomous value of the work). The piece was performed following her detailed instructions.

The action was activated with a mobile phone, inviting visitors to play the "Tanaka ringtone" with the first person in the line, at the bottom of the stairs. This would trigger the chain of reproductions, each played by a volunteer and their mobile, until reaching the last, then returning like the original work to end on the first step. At this point the visitors where asked to play the ringtone once again to end the piece. In this way, they were responsible for both activation and de-activation. During it's scheduled time, the piece could be activated an unlimited number of times or not once, as this was up to the visitors.

Margaret Honda would like to thank Mario Rodríguez and credit the sound used as "Tanaka ringtone".

Photography: Luis Díaz Díaz.

Original piece
I am sitting in a room

Artist: Alvin Lucier

Date: 1969
Duration: 15 minutes approx.
Location: Electronic Music Studio, Brandeis University, USA

I am sitting in a room is a sound work that shows the resonance of the room it develops in. The artist recorded his own voice, reading the following text on magentic tape:

“I am sitting in a room different from the one you are in now. I am recording the sound of my speaking voice and I am going to play it back into the room again and again until the resonant frequencies of the room reinforce themselves so that any semblance of my speech, with perhaps the exception of rhythm, is destroyed. What you will hear, then, are the natural resonant frequencies of the room articulated by speech. I regard this activity not so much as a demonstration of a physical fact, but more as a way to smooth out any irregularities my speech might have.”

This first recording was played and newly recorded in the same location, going over this process repeatedly to emphasize the pure harmonic frequencies and tones of the room. The artist reffered to the irregularities inherent to his own stuttering speech. Near the end of the piece, his words had become incomprehensible.

Listen to the recording.

rrroom # 02

Artist: Mikel R. Nieto (Barcelona)

Date: June 9, 2011
Duration: 30 minutes approx.
Location: auditorium of CA2M

The procedure used in rrroom # 02 differed from Lucier's work in the type of microphones used and the lack of text. In this version two subaquatic microphones -also known as hidrophones- were used as contact mics to collect the vibration of the floor, boosting the low frequencies that resonated in the room.

The absence of text gives way to minimal sound spaces thanks to the silence of those attending, also stimulating the listening of each detail during the recording moments. The sonic result varies depending on the room and the movements and response of the audience, making invisible worlds come about to those who are willing to listen to the development of resonance. The ongoing multiplication of low frequencies in the auditorium gave way to a session of overwhelming rumble.

Photography: Luis Díaz Díaz.

Original concept
White Cube


Date: From modernity to our days
Duration: still valid
Location: contemporary art centres and galleries

The so-called "white cube" is a completely white exhibition space, a clean room closed by ceiling and walls. It's neutrality and the absence of ornaments theoretically isolate the work that is shown inside of all noise, interference or distraction.

Ideologic chronology:
- 1897. Joseph Maria Olbrich, in the context of Viennese Secession architecture.
- 1908. Adolf Loos professes in his conference-manifesto Ornament und Verbrechen (Ornament and Crime).
- 1928. El Lissitzki conceived his Abstract Cabinet, an ideal space for the exhibition of new art, or as Alfred H. Barr would refer to it, “the most famous room of twentieth century art”.
- 1976. Inside the White Cube: The Ideology of the Gallery Space by Brian O'Doherty is published, Ed. Artforum.

La prueba de resistencia al White Cube

Artist: Consol Llupià (Barcelona)

Date: June 9, 2011
Duration: 22'33''
Location: auditorium or 3rd floor of CA2M

With La prueba de resistencia al White Cube (Test of resistance to the White Cube), the artist called for an aerobic resistance test inside a white exhibition space, integrated itself in the art centre CA2M so anyone who wished to take part in it could do so. This test, titled Course navette, is used all over Spain during compulsory education to evaluate the physical resistance of students.

The performance consisted in running the full test, moving through the space and changing directions with each sound signal, as the spoken instructions clearly indicated through the loudspeakers. Each participant's resistance was measured with the mark they had reached before giving up.

Photography: Luis Díaz Díaz.

Original piece
Rape Scene

Artist: Ana Mendieta

Date: 1973
Location: Iowa City, USA

A student was raped and murdered in the same campus where Ana Mendieta studied Art. Spawning from this event and the commotion it produced in her, the artist conceived an action as a protest and awareness on the crime. She invited some people for dinner at her apartment. Upon arriving, the guests found the door open, deafening music and objects thrown about the house. Once inside, they finally found Mendieta lying face-down, half naked, tied to a table and covered in blood.

Lost Scene

Artists: Ana Pasadena and Fernando Gutiérrez del Arroyo (Madrid)

Date: June 9, 2011
Location: terrace of CA2M

A young woman and a young man, who were a couple during a year, travelled for five hours of the night through roads and industrial estates in three areas of Madrid: Boadilla, Villanueva del Pardillo and Alcorcón. To close the second edition of Reformance, a few days later they would come and tell us about what happened during those five hours.

The news article that inspired this reinterpretation tells the story of a woman that disappeared after a company dinner during Christmas 2010, from which she left with her boyfriend. He commited suicide a few days later and she was never found. In the article, it is described how the Guardia Civil focused their search on industrial estates, wells and roads of Alcorcón, Villanueva del Pardillo and Boadilla; the same itinerary that her boyfriend's car followed that night, as was revealed by mobile phone repeaters.

Lost Scene was based, like Rape Scene, in the imperfect telling of a story of pain and suffering. Not experienced directly, but listened to through others who can not explain what happened exactly. Inevitably it would be a storytelling filled with gaps, omissions and silences.

Read the original article (spanish).

Photography: Luis Díaz Díaz.

edition I
Saturday 8 and Sunday 9, May 2010
Los Artistas del Barrio

Original piece
La Poétique de l'Espace
(The Poetics of Space)

Author: Gaston Bachelard

In La Poétique de l'Espace (1957), reference book for many contemporary artists and thinkers, the author elaborates different subject matter through which he seeks to understand the relation between man and world.

"One needs to be in the present, in the present of the image, in the minute of the image"

Cuando la imagen es nueva, el mundo es nuevo
(When the image is new, the world is new)

Artist: Carmen Cantón

¿How do you see the world in relation to yourself?

This is the question the artists proposes to the inhabitants of the neighbourhood. For this purpose she used a green rubber ball as a metaphor, asking each person to hold "the world" in their hands as in a dialogue. In each case the artist photographed the subjects individually, portraying that relationship. Every person posed engaging in a relation, an attitude towards that metaphorical world: kisses, kicks, hugs, fascination, fear... The game acquiring a metaphysical depth.

The piece took place throughout Saturday 8 2010 with an open schedule and open location. The artist walked around the neighbourhood and surroundings of the other works during that weekend, accompanied by her ball in one hand and her camera in the other.

Each participant would also fill in a form with their details, including time and place of the participation. Carmen Cantón keeps a register of the project, which continues beyond Reformance festival.

Portrait photography: Carmen Cantón.

Video: Miranda & Mirón.

Original piece
Conversaciones telefónicas
(Telephone conversations)

Artist: Isidoro Valcárcel Medina

In 1973 the artist would call numbers picked randomly from the telephone guide. Introducing himself briefly, he asked his interlocutors to take note of his new telephone number. People's reactions, not getting the point of writing down a stranger's number (when they even realised this was a stranger they were talking to), were varied: confusion, anger, laughter... The work was done in the intimacy of the artist's house where he recorded these conversations, using the recordings as testimony of the work.

Music Call

Artist: Lucía Antonini

In the presence of the attendants (including Valcárcel Medina himself), the artist made a series of telephone calls to combinations of numbers dialed randomly. She then offered to sing a live, improvised song.

Referencing music halls (popular music, comedy and dance events that were popular in the early 20th century), Musi Call brought forward thoughts on today's music industry and the new ways of making and sharing music that have come into play.

The approach, tone of voice and words used by the artist played with their similarities to tele-marketing format. Her free and very personal offer came across as an unexpected twist, even baffling to some, in contrast to dreary telephone advertising, which is so common nowadays. This media itself, land-line telephone, seems to have been left for sales and the few calls made between households, after mobile telephones became the norm upon entering the 21st century.

Just as in the original piece, there were all type of reactions. Despite being charged with generosity, the piece brought to evidence a common distrust towards strangers, after many declines from the speakers. Those of us attending the performance sighed sadly upon the negative responses of most interlocutors, and applauded enthusiastically when the artist had a chance of effectively singing a song, even when sung to an answering machine. Someone might listen to that message.

Photos: Nuria Fernández Herrera, Rocío Ballesteros, Miranda & Mirón.

Video: Miranda & Mirón.

Original piece
Pendulum Music

Artist: Steve Reich

This sound sculpture was presented in 1968 at the University of Colorado. Several dynamic microphones hung in front of a series of amplifiers, producing feedback upon coming close to their sound source. The pendular movement of the microphones activated by the artist created an amalgam of aural seesaws, each with it's particular rhythm, that slowly decreased to a stop, forced by gravity and time.

Pendulum Music

Artist: 12 o'clock Shadow and friends

The basis of the work and it's name remained, producing new sonorities, movements and combinations in the artist's very own living room. Using three sound sources (amplifiers) and three receptors (dynamic microphones) connected to each other, feedback was generated thanks to the pendular movements of the microphones, like in the original.

Being it a humble living room and a particularly short piece, we decided to establish three passes for different audiences, being the duration of ten minutes approximately, each session different from the starting point where the microphones were released in the air from the side. Since the point when they began to swing energetically until they came to a full stop, the subtle differences in rhythm, balance and cadence became accentuated as the viewer's attention sharpened with their hypnotic swing.

Photos: Nuria Fernández Herrera and Rocío Ballesteros.

Video: Miranda & Mirón.

Original piece
Tapp und Tast-kino


In Tapp un Tast-kino (Contact cinema) the austrian artist walked alongside her then partner Peter Weibel, with him inviting passersby to feel EXPORT's breasts. People would then put their hands inside the small theater construction that wrapped around her torso, a box with curtains that hid her body.

The performance treated the subject of woman as a passive object and questioned concepts like yoyeurism and exhibitionism. It took place for the first time in the streets of Vienna, in 1968.

Se toca pero no se mira
(You can touch but you can't look)

Artist: Fiacha O´Donnell with the collaboration of Guillermo García

With the message Se toca pero no se mira written on his t-shirt, the artist established a rule and a proposition. His partner asked passersby in Lavapiés square to put their hand in the box the artist had attached to his trousers. The action, a male version of one of the most famous feminist performances of the century, interacts with VALIE EXPORT's statement's on cultural view of body and sex, gender, social taboo and the legal, aesthetic and physical limits to art.

Photos: Nuria Fernández Herrera, Rocío Ballesteros, Miguelito and Sisto (Elgatoconmoscas).

Video: Miguelito and Sisto (Elgatoconmoscas).

Original piece
S.O.S. Starification Object Series Performance, An Adult Game of Mastication

Artist: Hannah Wilke

In the series S.O.S. (developed between 1974 and 1982) the artist stuck chewing gum, used and modelled in the shape of vaginas, onto her skin.

She realised a photographic series appearing as stereotypical female models (the pin-up, the housewife, etc.) and a performance where attendants were asked to chew on gum, the artist using it later to stick the pieces onto her body. Gerald Plitzer Gallery (Paris), 1975.

So Help Us Hannah

Artists: Sawyer & McAllister with the technical assistance of Sofía Nieto

(...) I want to give you what I have in my mouth, but I want to protect myself from you. We aren't Hannah Wilke, we have no beauty, no pride. Another Adult Game of Mastication. We don't sing to the body; we chain ourselves to it. You and I are going to look for one another, but from a distance.

With the lights of the room turned off, a video contact website was projected onto the wall ( The audience could navigate through different chatrooms, write messages and thus control the projection, while the pair of artists spent their time sticking gum onto it with their mouths. They stretched the gum, broke it, made it into threads, they seemed to hang from the pieces of gum... After a long while the stretched threads had woven a spiderweb of sorts across the room. Then, the beginning of a song was heard. I get a kick our of you, an ethereal version of Cole Porter's song (remixed by Cinematic Orchestra) began and accompanied the last moments of the performance.

Photos: Ana Folguera, Miranda & Mirón.

Video: Miranda & Mirón.

Original piece
Cut Piece

Artist: Yoko Ono

Elegantly dresed and sitting on the floor of a stage, the artist asked the audience to cut through her clothes. She remained motionless while the attendants, one by one, walked up to the stage and slowly undressed her with a pair of scissors.

The first time the performance took place was in 1964, inside the Yamaichi Concert Hall, Kyoto.

Homenaje a Yoko Ono o no
(Homage to Yoko Ono or not)

Artist: Analía Beltrán i Janés

The artist was to perform, apparently, a strict re-enactment of Yoko Ono's original performance. The attendants understood their job was to cut pieces of the performers dress, and so they did until metallic reflections began to show underneath her clothing. Once the entire dress was cut up, the chains wrapped around her body became visible.

In this newly discovered phase of the piece, questioning the apparent openness and act of public liberation, one could see that a supposed act of vulnerability can hide other things, even additional layers of repression. At this point, the artist reconfigured her chains and tied her own hands, neck and feet using three locks, then sliding towards the floor and remaining there, very still. Face down, she spat a key that had been guarded inside her mouth all this time. The audience froze a moment before this new scenario, then proceeding to accept the invitation in this gesture: a girl picked up the wet key and liberated the neck's lock. The same happened with other audience members and the remaining locks, until the artist was finally freed.

Photos: Miranda & Mirón.

Video: Miranda & Mirón.

Original piece
In bed with Lorca

Artists: Gilbert & George

In 2007 the iconic couple participated in a tribute exhibition to Federico García Lorca in La huerta de San Vicente, Granada. Inside the poet's house they were photographed lying on his bed, suited in their usual plegmatic style, protected by the Virgin's watch in a scene of strange costumbrismo.

En la cama con todos
(In bed with everybody)

Artists: Du_lab

Dressed in suits as a reference to the original artists, the couple invited attendants to share a moment of intimacy with them by laying together. They had previously installed their own bed, brought from Ciudad Real to Madrid for the occasion, in the sunny patio of association Mediodía Chica.

The differences with the original piece continued to play with the de-contextualisation of intimacy. The use of the artists very own bed, brought in from another city, presented the memory of an object that had followed them in their lives and nights, an object with life, whereas Lorca's bed represented the dead poet in a house now transformed into a museum.

Staying freely for an instant or for a while, the shared moment between artists and audience gave way to a game of variations on the traditional gesture of being in bed.

Photos: Luis Díaz Díaz.

Video: Miranda & Mirón.

Original piece
Mask piece

Artist: Yoko Ono

Excerpt from the book Grapefruit: a book of instruction and drawings:

Wear a blank mask.
Ask people to put in wrinkles, dimples,
eyes, mouth, etc., as you go.

1964 Spring

Pieza con máscara
(Mask piece)

Artists: Amanda Guadamillas and Christian Fernández Mirón

The two friends walked hand in hand through the neighbourhood's streets, slowly, with no agreed route. One acted as seeing-eye for the other, who wore a blank mask to be filled in by passersby upon invitation to add a feature on the empty face. Once the first mask was completed, the artists changed their roles and went on walking.

Basing their work on a set of poetic instructions without knowing if these had ever been realised, the artists had the opportunity of putting to test a very short script written fourty years prior. As in most of the festival's pieces, time, the performer's disposition and interaction with others were key elements in the development of the piece. Many people were happy to accept the invitation to draw on the papier-mâché faces, which once complete (anatomic rules aside) were taken off to end the performance.

Photos: Luis Díaz Díaz and Carmen Cantón.

Video: Analía Beltrán i Janés, Miranda & Mirón.

Original piece
Saut dans le vide
(Leap into the void)

Artist: Yves Klein

In this photograph taken by Harry Shunk in 1960, Yves Klein staged a leap into the void. His fall from a window towards the inminent pavement hides the magic trick of photo-composition: two identical shots merged to simulate a non-existent danger. For the shot of the jump, the upper part of the photo, the artist fell on a soft surface but this information is hidden to viewers of the final image.

YKB//Spring+Fall collection

Artists: Singing+Beehiver with the help of Amaia Contel, David Benito, Javier Rivas and Jorge Quesada.

Singing+Beehiver's aim was to build a collection of leaps into the void in different spaces of the neighbourhood of Lavapiés. They searched for phone cabins, garbage containers, statues or elevated railings for the series that Sunday afternoon.

During the performance, the people that walked by could see how the mattresses effectively broke the falls and, if familiar with Klein's work, witness directly his trick through photography (this technique being no longer indisputable proof of a given fact).

Another homage to Kein's work, Anthropometries of the Blue Period (1962), in which female bodies painted in blue left their mark on canvases upon pressing against them, is used as a reference to the ever-present YKB colour patented by Klein himself, this being possibly his best known contribution to art history. This association was used to generate a physical testimony of the leaps: the collection of YKB coloured impacts on white linen. Staining the sheet that cushioned the falls with the blue stamp of each impact, they noted the corresponding time and place next to each stain before continuing their route.

Photos: Miranda & Mirón.

Video: Amaia Contel, Miranda & Mirón.

The organisers

Claudia Repilado Miranda
After studying Art in London and expanding her studies in Havana, she currently lives in Madrid where she develops her artistic work investigating the immaterial value of that which is material. A part of her projects is based on gift-giving the possibilities of this gesture. In others, she uses established market structures or public Administration to create intimate experiences. She has also organised the monthly verbena popular La Flor de Lavapiés: el gran baile apretao. Among her favourite things are cinnamon, ex-votos, dancing salsa and finding extraordinary objects in unexpected places.

Christian Fernández Mirón
A specialist in producing art with no money, he keeps faith in so-called "art's sake" and organises the creative gymnasium The Cloud Societysince 2006, as well as other horizontal projects like the downloadable calendar of hairy pin-ups, Bears, illustrated. He is a founding member of ¡JA! and with his alias Sef approaches the musical extremes which fascinate him: experimentation, improvisation and pop music. His favourite activities include walking barefoot, making lots of questions and like his surname clearly spells, looking at everything.

Christian (+34) 655 105 385
Claudia (+34) 605 551 663

Images in high resolution:
Download image Reformance, example ♯1 (Marina Abramovic & Ulay - Rest Energy, 1980)
Download image Reformance, example ♯2 (Marina Abramovic & Ulay - Relation in Time, 1977)

For more information:
Christian (+34) 655 105 385
Claudia (+34) 605 551 663