A for cApitAl

Without doubt the subversive art par excellence is the graffiti, which not only takes the artwork out of the museum's comfort, but also calls into question all the social, economic and political conventions. From the distinction between public and private spheres, both in its material and intellectual dimensions, to the status of the artist and his relationship with the client and the public. But the graffiti is not only the most subversive art discipline in the form; its content usually also expresses a strong rejection of the dominant values. The famous graffiti Ne travaillez jamais (Don't ever work) painted by Guy Debord in Parisian May 1968 is a good example of that. But probably the graffiti par excellence, given its subversive nature and its lack of aesthetic pretensions, is the symbol of anarchy, the "A" surrounded by a "O". This is therefore the anarchist symbol par excellence of the political and social subversion, of what the dominant thinking often characterizes as anti-establishment.

But on another level, probably the most intense transformation process we are going through today is the transition from a world governed on the basis of political sovereignty towards another world in which who governs is the capital. In this context, the profit maximization of big capital drives to seek increasingly sophisticated mechanisms in order to escape the restrictions of traditional politics and to act with the greatest possible freedom and impunity. Thus the system, which disqualifies the anarchy as a radical or anti-systemic practice, promotes paradoxically at another level this same anarchy: the capitalist anarchy.

Image [aw] after data from Fortune's Global 500 list (2013).


European Disunion

Symbols are not neutral. They always camouflage certain reality that doesn't want to be shown. They always intend to suggest a different truth. Behind its mask of neutrality, cleanliness, simplicity and harmony lying intentions try to conceal realities that are not only more complex, but above all much more violent; ultimately, relations of domination. The flag of the European Union is a very clear example of that. This is an organization based, firstly, on the subjugation of Europe to American and NATO interests; secondly, on the submission of the peripheral to the central countries; and thirdly, summarizing the two previous points, on the dismantling of national sovereignty, that is to say, on the dictatorship of big capital over the people.

And yet, the official European flag aims to present a harmonious, balanced and equal alliance of sovereign states, united by a common interest. Therefore, the intellectual and artistic work of political resistance to the empire of capital should deconstruct not only the dominant theories, but also the dominant symbols, no less powerful. One of these possibilities is to manipulate them by
introducing vectors of reality, which contribute to uncover these stagings.

Image after Arsène Heitz and Paul M. G. Lévy's European Union Flag (1955) [pd-fu/fd] and data from International Monetary Fund's GDP statistics (2012).


William Tell's Geostrategy

The world's geostrategic balance can be interpreted in the light of William Tell's legend. The first arrow is that of terrorism, which sacrifices specific goals thus saving the bulk of the empire, gives it arguments to continue its dominance, but also shows the archer's good aim. The second arrow is that of the weapons of mass destruction, which would only serve to defend the few bastions not subject to the ever insatiable imperial ambition.

Image after G8 summit in Lough Erne Resort (Northern Ireland, 2013) [ua-fu/fd] and Topol-M-20 nuclear missile launcher [ua-fu/fd].


The Vision of God

Many cultures have regarded the sun as a god. As the source of light par excellence, it was considered as the focus of divine vision, a sort of transcendent eye watching everything that men did, a symbol of domination of the spirit over the matter. Now that everything we do in the immaterial domain of the Internet is seen and recorded by the eyes of the system, we can say that the eye of God has become integrated with the world, that the Internet is also an immanent and omniscient God.  

Image after Claude Nicolas Ledoux's Oeil reflétant l'intérieur du Théâtre de Besançon (Eye reflecting the interieur of the Theater at Besancon, 1784) [pd-fu/fd].


The Globalization of the Walls

Global capitalism is a two-way phenomenon. On the one hand, an increasing freedom in the movement of the capital, both the monetary capital and that embodied in the means of production and in the commodities. On the other hand, an increasing restriction on the movement of persons, subjugated to the interests of the labor market, confined in any of the different political, legal, regulatory and/or environmental compartments which ensure the proper flow of the capital. On the one hand the spirit. On the other hand the body. Globalization is thus the celebration of a great sacrificial ritual by which, as in any other sacrifice, the spirit and the body become dissociated.

Image after United States one-dollar bill (1964) [ua-fu/fd].


The Riot of the Virgin

In times of riots, it would not be strange that even the Christian Virgin rebelled against her own religion and signed up for any of the more radical feminist movements. In fact all symbols allow a certain degree of interpretation, which is precisely why they can be given life. They are permanently open to interpretation, both to the reactionary manipulation by the power, and inversely to the détournement of their dominant meanings by the marginalized. In the case of the virgin, it is obvious that she can be alternatively interpreted as one of the most advanced women of her time, one who claimed sexual freedom for the woman and her right to decide the model of family that she pleased. Or even as the "santissima puttana" (Peter Sloterdijk, Critique of Cynical Reason, 1983). Or as the "sextremist" group FEMEN put it: "her body her choice".  

Image after Jean Fouquet's Madonna Surrounded by Seraphim and Cherubim (1452) [pd] and FEMEN and Alia al-Mahdi's action in Embassy of Eypt in Stockholm (2012) [fu/fd]. 


The Mechanism of the World

Although it seems obvious the fact is that the progressive mechanization of the world makes it look more and more like a huge mechanism. The historian of technology Lewis Mumford showed us the importance held by the watch at the dawn of the technified Europe (Technics and Civilization, 1934). Since then the world resembles more and more a huge clock, in which the inertia of the bigger wheels forces the unrelenting movement of the entire system. With the distinctive feature that some of these wheels expand as living beings crushing between them the smaller ones. 

Image [aw] after NASA's full moon [pd] and data from United Nations' Gross Domestic Product statistics.


United Capitals of the Empire

Global capitalism functions according to the logic of "deterritorialization" and "reterritorialization" (Gilles Deleuze and Félix Guattari, Anti-Oedipus, 1972, and A Thousand Plateaus, 1980). The financial capital of the centers is already "deterritorialized" to be invested in the periphery, through major international institutions like the International Monetary Fund, the World Bank and the World Trade Organization, and according to standard global neoliberal mechanisms. This financial capital is "reterritorialized", not only in the material sense, in the form of productive capital, but also in the symbolic one. These two movements, rather than being consecutive in time, overlap in two planes, in the more visual sense of the term. Thus, the "deterritorialized" plane is the structural level that dominates exchanges, and, to a certain degree, production. But this plane, which is by essence abstract, normative, but also corrupt and violent in its effects, needs to be masked behind a symbolic plane, which provides a friendlier appearance and a false identity, in order to conceal the true forms of exploitation and extraction of capital characteristic of this capitalist neocolonialism.

Image [aw] after flags and coat of arms of the countries of the world and United Nations' data of Gross Domestic Product.


Internet Atlases

Contrary to the popular believe, the internet is one of the inventions which is contributing more to the separation of the humanity. If it connects anything at all, this belongs to the realm of the ethereal, the privileged dimension of the spiritual capital. Not surprisingly it was originally a military technology. As on other occasionsmilitary industrial wastes shape our everyday life, from our world views to the latest gadgets. Moreover, internet is the latest version of the myth of Atlas, with the difference that now we are many small inter-dis-connected heroes contributing with our daily torture to bear a weightless world. In other words: the spirit of internet celebrates today a permanent sacrifice of our bodily lifes.

Image after Farnese Atlas (2nd cent. AD) [pd] and The Opte Project's internet map [cc-by-nc-sa].


Democratic Republic of the Capital

Definitely a fundamental task in the field of the struggles is to give visibility to phenomena that the propaganda of the system -- increasingly sophisticated and integrated -- tends to conceal or distort. This is the fundamental role of the so-called observatories. But they are still data sources, used above all in specialized fields, but tending to go unnoticed to the general public.

In this situation we propose to create a hybrid from the notion of observatory and that of  symbol of
identity, as it is the case of flags. The interest of that would be, not just to register, store, produce and share certain information, but also to give it visibility -- in the most literal sense of the term --, using for this purpose traditional symbolic formats, which can become in this way "détournés".

Image [aw] after flags of the world and United Nations' Gross Domestic Product statistics.


Survival Love Dolls

In most survival kits two important components are often missing: one to indulge in the contemplation of beauty and another with which satisfy the more basic sexual desires. Eros and Aphrodite were in fact the Greek gods representing such human needs, the two of them conjugating, on the one hand, the spiritual dimension of beauty, and on the other, that of the body and earthly pleasures. Nevertheless Plato, as part of his great undertaking to endow ideas with a real entity, distinguished for both gods a "heavenly" and an "earthly" version. In the Symposium (ca. 385-370 BC) the idealist philosopher wrote about an Eros Ouranios -- 'heavenly' -- and an Eros Pandemos -- 'common' --, as well as about an Aphrodite Ourania and an Aphrodite Pandemia. We propose to draw attention to this Platonian split of Love, which would deeply affect Western culture thereafter, through its adaptation to Christianity, up to its late capitalist derivations in the form of porn objects and practices, by reintegrating these two -- celestial and earthly -- dimensions of Love: the first one represented by two celebrated sculptures of Classical Greece, and the second one by a couple of sex dolls.

Image after Eros Farnese (350 BC, Roman copy after Praxiteles' original) [pd], Capitoline Venus (Roman, after Praxiteles' original, 4th c. BC) [pd] and Widmann's Inflatable Woman and Inflatable Man [fu/fd].


Forbidden Liberties

Despite the scientific and institutional attempts to fix the meaning of words, we know that in the language, as in any other symbolic system, there is always a gap impossible to fill between signifiers and signifieds, which is precisely what allows language to live, to evolve. Thus, it is predictable that the notion of liberty, both in its written or spoken language and in its visual version, will be one of those that will change more, in line with the globalization and its cultural syncretisms.

Image after Frédéric Auguste Bartholdi's Statue of Liberty (1886) in New York Harbor [ua-fu/fd] and Tiananmen Square, Beijing [ua-fu/fd].


Our Lady Chelsea Manning

The armies of the world have a new patron saint. She will give courage to their children in the battlefield. She will have mercy upon those who suffer. She will give comfort to those wounded. She will mourn for the fallen. Her name is Chelsea -- born Bradley -- Manning.

Image after Tounushi's uniform drawings [cc-by-nc-sa] and Chelsea Manning's self portrait [fu/fd].


Western Philosophy

The recognized anarchist epistemologist Paul Feyerabend (Against Method, 1975) said that the different forms of knowledge are "incommensurable". We think nevertheless that confronting one form of knowledge and another is specially revealing. Thus, we find no major differences in the depth and subtlety of the eastern I Ching and the western Tarot of Marseilles. It doesn't happen the same if we compare this Chinese book with western popular proverbs and sayings, still alive in the way of thinking and doing of the mainstream culture.  

Image [aw] after I Ching's hexagram table (3rd-2nd m. BC) [pd].


World Chess

We live in a world increasingly difficult to understand, among other reasons, because the system itself generates mechanisms of concealment which hinder its understanding. Therefore, one of the main goals of a committed artistic practice is to unveil these mechanisms, to give visibility to what happens behind the scenes. And yet, the world continues to function more or less the same way always did, although now with a higher degree of complexity, that is to say, based on the struggle, the confrontation, the competition, the strategy. The chess is one of those games that, in the shape of an entertainment, of a duel of astuteness in the calm of the living rooms, symbolizes well how the world actually works. Our proposal is therefore to create a world chess which, based on the classic version of the board game, gives visibility to our contemporary world, showing its areas of power, the inequalities among the various zones, the ongoing strategies of domination.



One of the foundational myths of Western civilization, that of Adam and Eve, demonized woman as the representative of the flesh temptation and the fall of spirit into Evil. Many centuries later, in a world still dominated by male values ​​but in need of female manners, the contemporary Adam is an androgynous, feminine man or masculine woman. While the contemporary Eva --still the scapegoat in many cultures--, are any minority options which, in a frequent unconscious way, cause the majority's jealousy towards their unknown enjoyments (Slavoj Zizek, The Plague of Fantasies, 1997)

Image after Helmut Newton's Big Nude III: Henrietta (1980) [fu/fd] and Big Nude V (1980) [fu/fd].


Global Park

The phenomenon of sustainability can only be understood when considered at a global scale. Thus the fact that certain areas of the world follow supposedly sustainable criteria, implies that in other areas capitalism continues to devastate nature unrestrained. Actually, the fact the these privileged places -- the ones where global decisions are taken -- invest their surplus values in green policies, is nothing but a recuperation to the system of new areas of exploitation, as well as new forms of colonialism, whether cultural, technical, regulatory or taxatory.

Image after NASA's image of New York City [fu/fd].


Border Hurdling

Some truly Olympic Games, really heir of the classical tradition, from the ritual pardons to the Roman circus, should include a sport discipline called border hurdling. During the celebration, as in any other ritual party, laws would be suspended. The stadium would be built on the border between the so-called first and third worlds. And those athletes who got to jump the fence would win a world citizenship award.

Image after London Olympic Stadium [ua-fu/fd], EFE's immigrants in Melilla [fu/fd] and others [ua-fu/fd].


Castizo sacrifice

If we were to propose an image representing the "typical Spanish", no one would be surprised at seeing serrano ham, wine or the Majas by Goya. What would not be so typical and yet distinctly castizo would be to represent, at the same time, the Wheel of Fortune, the Cross, the sacrifice of the flesh...

Image after Francisco de Goya's La maja desnuda (The Nude Maja, 1795-1800) [pd] and La maja vestida (The Clothed Maja, 1800-1807) [pd] and others [ua-fu/fd].



If we consider that those who boast about being the guarantors of liberty and democracy systematically resort to state violence, whether by torture or by force-feeding, then they should rather say force-liberting and force-democracing, so that the original terms do not get corrupted.

Image after Frédéric Auguste Bartholdi's Statue of Liberty (1886) in New York Harbor [ua-fu/fd], force-feeding chair and others [ua-fu/fd].


Sin Mechanism

The religious notions of good and evil, sin, Last Judgment, not only haven't lost their validity with the apparent preeminence of Western secularism, but have in fact deeply infiltrated into the ruthless mechanism making the system go round. One of them is the concept of linear, continuous, measurable time, behind of which still hides the judeo-Christian god. Thus, although the capitalist system resembles more and more a huge clockwork mechanism -- Marx's "vast automaton" (Capital: Critique of Political Economy, 1867) -- driven by precision, efficiency, productivity, and other mantras of modern ideology, the fact is that the system only functions by expelling its violence towards its margins, as well as through its numerous leaks.

Image after Hans Memling's Das Jüngste Gericht (Last Judgment, 1467-1471) [pd] and various watch mechanisms [ua-fu/fd].


The Labyrinth of Reason

The myth of the labyrinth, representing since the beginning of Western culture the hero's rational confrontation with the monster, guardian of the secret, reached in Auschwitz a breaking point in which their terms would have inverted. Since then, the path of the reason was itself the labyrinth of monstrosity; industrial planning of death became the monster; the secret to be protected wasn't other than the darkest side of the same capitalist system of production. Auschwitz wasn't an end or even an exception, but just something that, from this time on, had to be hidden.

Image after The British Museum's clay mask of the demon Huwawa (Iraq, ca. 1800-1600 BC) [dp-pao] and railroad gate to the Auschwitz-Birkenau concentration camp [ua-fu/fd].



The greenwashing is only part of a much deeper process of transformation we are going through, of a paradigm shift in which it is no longer the beast who threatens the reason, but the reason who has become the beast about to devour us; in which beauty is no longer understood as the opposite of monstrosity, but as something containing it.

Image after Edgar Wallace and Merian C. Cooper's King Kong (1933) [fu/fd], Minoru Yamasaki and Emery Roth & Sons' World Trade Center (1973) [fu/fd] and Getty Images' gorillas [fu/fd].


The Fountain of Ruse

Political propaganda makes a parasitic use of our mythical heritage; it is "mystagogic" rather than "mythopoetic" (Gillo Dorfles, Naturaleza y artificio, 1977). The ruse is not difficult to discover, because, in order to achieve that, it resorts to myths symbolizing the opposite of what propaganda tries to hide: i.e. eternal youth vs. radioactivity.

Image after Lucas Cranach the Elder's Der Jungbrunnen (The Fountain of Youth, 1546) [pd], Charles Levy/US Federal Government's atomic bombing of Nagasaki (1945) [pd] and Tomás Lorente Abellán/La Vanguardia's Spanish minister and American ambassador bathing in Palomares (1966) [fu/fd].


The Sack of Rome

In the same way that beauty is inseparable from the physical strength of the body, the aesthetics of each time would be also based on the corresponding forms of barbarismMannerist and Baroque canons would owe much to the sacking which mutilated the heritage of Antiquity. And the aesthetics of our time would be being cultivated in the anti-personnel mine fields rather than in the academias.

Image after Giovanni Antonio da Brescia's engraving after the Belvedere Torso (1500-20) [pd], Peter Paul Rubens' copy after the Belvedere Torso (1601-02) [pd] and Alex Smithing's design of AT-AP Mine [fu/fd].


Fishbowl Transparency

To see always involves to be seen. Even for those who believe that they see and are not seen. The glass curtain wall -- one of the bigger myths of modern architecture -- is nothing but a sublimated form of the medieval fortification.

Image after Julius Shulman's Stahl House (Case Study House #22, 1960) [fu/fd] and Sebastião Salgado's Coal Mining, Dhanbad, Bihar, India (1989) [fu/fd]. 


Pornographic Dismemberment

Pornography is one of the contemporary activities in which the sacred appears more alive. In fact, it is the latest version of the dismemberment in which many cosmogonies of origin consist, as well as the saintliness of martyrs or the exemplary moral of the tortured transgressors.

Image after Dieric Bouts' Martyrdom of St. Hippolytus (1470-75) [pd] and Jean-Jacques Lequeu's various drawings (1757-1826) [pd].


Oil War Crucifixion

The crosses of our time are driven in petroleum hells. The crosses of our time are made of indolent beings, of office sacrifices and beach pleasures. The crosses of our time point to the heaven with technological towers which watch and command everything.

Image after Christo's Oil Barrels Column (1961, photo: Raymond de Seynes) [fu/fd], aircraft carriers USS Ronald Reagan (1976) and George H. W. Bush (1977) [fu/fd], Adel al Yousifi's Iraq war [fu/fd] and Massimo Vitali' beach [fu/fd].


Garden of Chess

All myths lie; they tell only part of the truth, the one which benefits the ruling classes. Thus, the Garden of Eden could more be appropriately called garden of chess. As related myths, three Evas confront three powerful patriarchs. The rules of the game are not the same for the two sides. It is about intelligence and strategy, and ultimately aims for the domination of nature.

Image after Pietro Perugino's Pope Antero (1483) [pd] and Pope Fabiano (1483) [pd], Mabuse's Adam and Eve (c. 1510) [pd], Albrecht Durer's Adam and Eve (1507) [pd], Hans Baldung's Adam and Eve (1524) [pd], Francisco de Zurbarán's Portrait of Pope Gregory I (c. 1626-27) [pd], Jaques London's chess board [fu/fd] and deforestation of the Amazon [ua].


Mass Media Stylites

Mass media could be interpreted as a form of stylitism. As Saint Simeon Stylites, they sacrifice with their attitude the worldly dimension of existence, but end up giving in to the most perverse temptations. As Saint Simeon, they preach a sermon from the heights which, by virtue of its privileged situation, is incarnated with the sacredness of truth.

Image after Plaque of Saint Simeon (6th century AD) [pd], E. Pawtucket's orthodox icon of Saint Simeon Stylites [fu/fd] and David Yates' Berlin Television Tower [fu/fd].


Vertical Orders

In the same way that the reason arose as a sublimated form of eroticism (Michel Foucault, The History of Sexuality, 1976-1984), classical orders derived from body instincts and a desire for perfection. But what has not been emphasized enough is something that may seem obvious: the importance given to the vertical. Thus, although the reasons for that should be mainly sought in a religious worldview, the truth is that the result would be closer to circus acrobatics than what had been originally thought.

Image after Giacomo Barozzi da Vignola's Regola delli cinque ordini d'architettura (1635) [pd], Joseph Mallord William Turner's Snow Storm - Steam-Boat off a Harbour's Mouth (1842) [pd] and Helmut Newton's They’re Coming (naked, 1981) [fu/fd].

Archduke Leopold Wilhelm in his New National Gallery

The interest of modern architecture in transparency was born corrupted because of the excessive Western attachment to the visual. Thus, the hypothesis of the invisible museum as transparent frame for the artwork became paradoxically its opposite. The container, now empty, could take the place of the content. Transparency became a more subtle form of opacity. 

Image after David Teniers' Archduke Leopold Wilhelm in his Picture Gallery in Brussels (c. 1651) [pd] and Mies van der Rohe's Neue Nationalgalerie in Berlin (1968, photo: Christian Beirle González) [fu/fd].


The Disguise of Science

"In hasty ill humor, I have ripped the fig leaves from some naked thoughts" (Heinrich Heine, Germany, a Winter's Tale, 1844)

Western science inherited from the myth of the Fall the importance of the visual representation as form of knowledge. Since then, "nakedness" was no longer possible and became "nudity" (John Berger, Ways of Seeing, 1972), the disguise of a role according to public morality. Thus, the knowledge of nature implied this emphasis on the representation as a way to control instincts. Science adopted the appearance of good and refused evil behaviors as integral part of reality.

Image after Lucas Cranach the Elder's Adam and Eve (1526) [pd] and Andreas Vesalius’ De Humani Corporis Fabrica (On the Fabric of the Human Body, 1543) [pd].



If, as some thinkers claim, mimesis plays a key role in dominating behaviors, beyond reasons or intentions, then certain apparently playful activities might be actually imbued with the gravity which in the past characterized oaths.

Image after Jacques-Louis David's Oath of the Horatii (1786) [pd] and beach aerobics [ua].


Heil Aerobics

The fact that certain activities, even if they present themselves as healthy, proliferate at certain times is not a coincidence. The fact that these activities and other apparently different have much in common, cannot be anything but alarming. Another reason to believe that fascism and capitalism are in fact two avatars of the same movement. 

Image after AC's Adolf Hitler saluting troops parade in Vienna (1938) [fu/fd] and water aerobics [ua].


Supermarket Stigmatization

Chemistry allowed the war not only to move outside the home but also, because of its discretion, to be practiced at homeWhat has not changed, at least from Francis of Assisi on, is that stigmatization and poverty go hand in hand.

Image after Giotto di Bondone's Stigmatization of St. Francis (1325) [pd], Nick Ut/The Associated Press's Napalm Girl (1972) [fu/fd] and Andreas Gursky's 99 Cent (1999) [fu/fd].


Humanitarian Pantalone

Humanitarian aid is the mask behind which conceals itself the empire of capital and war, the Pantalone performing the commedia of the mass media.

Image after Nick Ut/The Associated Press's Napalm Girl (1972) [fu/fd] and others [ua].

Eros vs. Reason

We believe that the real antagonism of Greek philosophy wasn't idealism vs. realism, but another more far-reaching and until today agonizing over: eros vs. reason; the real agony wasn't that of Plato and Aristotle, but that of the eromenos and the erastes.

Image after Kritios and Nesiotes' Kritios Boy (c. 480 b.C.) [pd] and Raphael's The School of Athens (1509-10) [pd].

Blackout of Senses

In a civilization so devoted to the visual, is it not strange that the progress of technology contribute to the privileging of this dimension and to the misappropriation of what belongs to other senses.

Image after Bob Gomel's Blackout of New York (1965) [fu/fd] and Google's Glass glasses (2013) [fu/fd].

Cast Ground Meat

Every epoch has its symbols. There was a time when cast metal equestrian statues symbolized a hierarchical society whose powers were based on the conquest of territory. Our time could be well that of the burger; our labyrinth that of the distribution of ground meat.

Image after Denis Diderot and Jean le Rond d'Alembert's Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers (Encyclopaedia or a Systematic Dictionary of the Sciences, Arts and Crafts, 1751-72) [pd] and others [ua-fu/fd].


Ephebos, P.O.V.

While the reason arose in Greece in good part through the erotic relationship of master and disciple, along progressive sublimation of instincts, twenty-five centuries later the body is not anymore a matter of spiritual development, but something to be concealed, and in fact, a proof of the decadence of certain institutions.

Image after Kritios and Nesiotes' Kritios Boy (c. 480 b.C.) [pd] and others [ua-fu/fd].

The Prison of Representation

Amid all the prisons built by man the most subtle, but also the most indestructible, is the prison of representation. Since the beginning of time, culture and representation have moded hand in hand, and any re-presentation is nothing but a new presentation of a previous representation, in an endless chain.

Image after photo cameras by Canon, Casio, Fujifilm, Nikon, Olympus and Sony [fu/fd].


Horse Totem

From mythological centaurs to the Trojan Horse, from medieval knights to cavalry regiments, from cowboys to the crisis of meat, the horse totem still rules many rituals of man's domination of nature, that is to say, of man's domination of man.

Image after various equestrian statues [pd] and others [ua-fu/fd].


La Petenera's Parade

La Petenera can stir up the most violent passions. La Petenera, performing with military discipline her flamenco dance, resembles a marching army.

Image after crowd saluting Adolf Hitler (1935) [ua-fu/fd] and Luis Buñuel's Cet obscur objet du désir (That Obscure Object of Desire, 1977) [fu/fd].


The Sexuality Lesson

Love struggles between the scientific accuracy of the sexual intercourse and the Assumption of the Virgin to the center around which everything revolves.

Image after Guido Reni's The Assumption of the Virgin (1627) [pd], Rembrandt van Rijn's The Anatomy Lesson of Dr. Nicolaes Tulp (1632) [pd] and Gunther von Hagens' plastination [fu/fd].

Nature Conservation

As the animals preserved in alcohol held in the museums of natural sciences, the Virgin floats inside an alcohol bottle, hanging from the ovule eternally fertilized.

Image after Peter Paul Rubens' The Assumption of the Virgin (1612-1617) [pd], The Wet Collections of Berlin Natural Sciences Museum [fu/fd] and vodka bottle [ua-fu/fd].


The Assumption of the Femme Fatale

The only difference between the Virgin and the femme fatale is that the femme fatale is not a virgin.  

Image after Peter Paul Rubens' The Assumption of the Virgin (1612-1617) [pd] and others [ua-fu/fd].

Le Mépris (Contempt)

A tribute to Jean-Luc Godard's film, where man must confront once again, in the most intimate space, his own monster.

Image after Donaldson Brothers' Raphael's Madonna (1898, after Raphael Sanzio's Sistine Madonna (1513-1514)) [pd], Antonio López's Cuarto de baño (Bathroom, 1969) [fu/fd] and others [ua-fu/fd].


The Ecstasy of the Femme Fatale

As an ovule indifferent to the effect of the spermatozoa, the femme fatale dances tirelessly until dawn, ecstatic by her own movement, enjoying the defeat of her suitors

Image after Damien Hirst's For the Love of God (2007) [fu/fd] and other works [ua-fu/fd].


The liberated woman exports to the world her inert body, doing penance for the unbounded ambition of her nation in the last century.

Image after William Orpen's Signature du traité de paix par la délégation allemande le 28 juin 1919 dans la Galerie des Glaces (The Signing of Peace in the Hall of Mirrors, Versailles, 28th June 1919, 1921) [pao] and La Ribot's Outsized Baggage, Pieza Distinguida nº 28 (2000) [fu/fd].