top of page

Image by Carmelo Argaiz


Production year: 2020-2021

Type of work: video-performance

Duration: 10:53 min

Format: MP4

Music composition: Nasim López-Palacios

Performers: Alex Do Carmo, Anzhelika Pankova and Jon Ander Muñoz.

Camera and edition: Alba Sáenz de la Cuesta

Fixed camera: Carmelo Argaiz

Production: Work produced with the help of La Lonja within the Festival Actual

Why The Traumed Body?

This is part of a process, an analysis of her limits. These limits are both physical and

social. We talked about the evolution of her position as a woman, as an artist and as a woman artist in society.


She wanted to be an artist. Live as an artist. And then, she begins to understand being an artist as a profession of a creator. And she begins to consider herself an artist. This decision marks a before and after in taking control of her body. It begins with the position, that is, she is baptized, born and named as an artist. There is a being and a not being. Two concepts reappear in her work. Her analysis of the body is now from a different position that does not stop evolving since she is baptized as an artist when she identifies the position of the artist in time and space that corresponds to her. It is not only the genius that regulates art beyond the principles of nature and society, but it also is not an abstract entity and it does not place itself above culture. Rather, it is recognized as part of it. She investigates how that participation works if the artist is an idol, symbol or religious. This is when responsibility for your context is taken. In other words, by recognizing herself as a social element, she understands her power in the collective imagination. (1)

Why in The Non-Space?

The fictional character that art galleries have always appealed to me, with the white walls and the perfect atmosphere; neutral to avoid dirtying the work, trying to be the Non-Place. Even so, in the direction of Bourdieu's thoughts, the art that has been legitimized as such has been because of agents, elements (such as economic, cultural capital, political powers, etc.) and contexts that have done so.  I am interested in highlighting the context of the art gallery as a Non-Place, which turns into The-Place or That-Place. On this occasion, I was interested in depriving the performance of the space of representation (2) to place it in a neutral, adaptable, moldable and constructible space, such as La Lonja.


  1. Fragment of text written by Maialen Sánchez on the occasion of the performance The Traumed Body in a Space (Labastida, July 2020).

  2. The performance The Traumed Body in the Non-Space presented at La Lonja has as a prequel the performance created in collaboration with the Artium Museum called The Traumed Body in a Space presented in Labastida in July 2020. On that occasion, the space of the ruins of the convent of San Andrés de Muga was an essential part of the performance, since they were giving context to the action.

Images by Carmelo Argaiz

bottom of page