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].


What if Icarus would be a woman, one of these modern and liberated women who flyes low cost, who doesn't listen to Daedalus' advise, who gets too close to the mystery of creation so that her wings melt away...

Image after Rafael Roa's La hija de Ícaro (Icarus' Daughter, 1994) [fu/fd], PTI's Nigeria plane crash (2012) [fu/fd] and others [ua-fu/fd].


Matryoshka Capitalism

Capitalism is like an endless set of matryoshka, the traditional Russian nested dolls, each one containing an infinite number of them and being also contained by an infinite number. Dolls containing nothing but other dolls, empty dolls.


See and be seen

Any gaze matches another one. Every time we look, someone or something looks at us in turn. The television is not only a distant vision, but also a reciprocal one. Believe it or not, now that you are watching this image, the image itself is watching at you too.

Image after Evert F. Baumgardner's Family watching television (c. 1958) [fu/fd] and AP/Britannica's photo [fu/fd].


The Failure of Modernity

How can so many architecture and art critics keep talking about transparency regarding, for example, Mies van der Rohe's Farnsworth House? Is it perhaps because they are only referring to the architectural transparency?

Image after Mies van der Rohe's Farnsworth House (1945-51) [ua-fu/fd] and others [ua-fu/fd].


The Tragedy of Assembly Line

If the image of the "tank man" at Tiananmen Square protest of 1989 is so powerful isn't just because it depicts a man fighting against a state, or even totalitarian state, but above all because it symbolizes the confrontation of the man with the capitalist production as active subject in the class struggle. This confirms what Jean Baudrillard said (Symbolic Exchange and Death, 1976) concerning the Luddites, who destroyed the early capitalist machinery, not because they were "means of production" but because they embodied the dominant capitalist subject. In addition, the machines in Tiananmen reveal the fundamental essence of capitalist production as a violent mechanism of domination, not exactly that of the man against the man, but rather that of the capitalist system itself against the man. It is thus, to put it simply, the revolt of man against the assembly line.

Image after M-41 Walker Bulldog Tank's assembly line (c. 1953) [ua-fu/fd] and Jeff Widener/Associated Press's Tank Man (1989) [fu/fd].

Inverted Babel

The world would be very different if the man, instead of building towers of Babel, turned them upside down and changed them into funnels so that the Heaven could precipitate over the Earth.

That would be an example of an anti-myth, based on the incarnation rather than on the sacrifice. The eventual progress of humanity would have to be experienced in this sense.
Image after Hieronymus Bosch's The Garden of Earthly Delights (1490-1510) [pd] and Pieter Bruegel the Elder's The Tower of Babel (c. 1565) [pd].


The New-town

In the New-town a crucifix has been raised to remind of the victims. In the New-town seductive policewomen keep guard tirelessly. In the New-town the backcloth at the rear of the stage is made of camera flashes.

Image after Bushmaster .223 rifle, Sig Sauer P226 and Glock guns [fu/fd], My First Teddy Bear [ua-fu/fd], Paul Abascal's Paparazzi (2006) [fu/fd] and others [ua-fu/fd].


Dominatrix Vobiscum

A contemporary interpretation of the Last Supper could be a dominatrix and twelve handsome pretenders determined to overcome any difficulty to get her favours.

Image after Leonardo da Vinci's L'Ultima Cena (The Last Supper, 1495-1498) [pd], Vander Gucht and James Drake's Exposed Penis (1707) [pd] and others [ua-fu/fd].