For me performance arts are a real and honest expression that I feel innate, intuitive, a declassified procedure that opens possibilities for observation, emotion and intervention in the world. The body. The bodies. The constant vivacity. The poetic action without meaning, invisibly public, the transformation of the state of things, alert and available. The alteration of the collective body, care and awareness, an intimate relationship with nature. A rudimentary expression. Innocence matures in every action. The intelligence. Engaged. The wildness of the glasses, the humor, the failures and the blows. From there I pass to hybridizations, to critical thinking, to situated writing.
Today places everywhere have a lot symbolic fards. Neoliberalism is a plug. The “global” cities are a loaded with crap. Everything smells bad. And from the garbage some dissident existences invent worlds. They sing, they dance, they make noise, they paint, they jump. Cities are changing in the last 15 years and the crisis of meaning continues to float. Today we could have a headline saying in Madrid or Toronto: The intellectual scam of the media and art system. It is not a provocation, but a painful reality. Those who live in the decision-making centers are reluctant to leave the room. It's a matter of time. A tremor is needed from below as in May1968 as May 2011. A tremor that brings together again. For me HUMANIMALS PROJECT is an artifact with material and immaterial potentialities. Actually, we do not need any politicians to change the city. We should be aware of the strategies and power of the agenda setting, we should hold complaint and commitment beyond electoral times. What relationships between communication, politics and arts can we discover? What strategies? Can an internationalist, deterritorialize and community performance art be consolidated in the next decade? Can we recover any political social and cultural senses of what we are doing in our lives now? How are we proceeding? What for? What are the requirements for the truth under neoliberal agendas? What are some of the consequences of naming the truth? How can we speak about the massive murder in Mediterranean Sea, in Siria, in Palestina, in Mexico? What is our commitment (as human beeings) with the creation of symbols and imaginary? In what languages would new questions and answers be satisfactory? What we are doing artists and researchers about (included youtubers and instagramers, snatchap!)? Working on their own business? What are we waiting for? That is my personal vision. I'm just sharing a part of my own vital experience. Right now I am 38 years old and I am an artist and activist, associate collaborator of El Salto Media in Spain. I'm living in the mountains of Madrid, near the city but in the middle of nature, working as freelance, writing and making performative narratives. No money, but time and tools. The uncertainty before our own limits and borders. The need to reformulate together the questions that open up other ways of telling stories, thinking, talking, feeling, interacting, looking at the eyes in the XXI century. This is what I am looking for with my artistic practices and with this HUMANIMAL proposal to hub14. Thank you very much. Laura Corcuera (Spain).
KEY WORDS: Creativity, methodologies, Actions, Processes, Cycles, Confict, Open Code, Cooperate, Collaborate, Coexist, CohabitatION, Humanimals, Performance.
HUMANIMALS is an action inspired by nature, in the older women, in the wild children. We travel to the field of fiction, of magical thought, of fable. HUMANIMALS is an action of resistance that begins with my ephemeral body in space and expands into an ephemeral community.
HUMANIMALS is also a physical and scientific poetic political journalistic action. Since the summer of 2017 this actions action are generating a World Archive of Humanimals Experiences that will be presented in Athens and Madrid in 2020, within the Project (Bio) diversity silenced. Currently, a laboratory garage located in the Sierra Norte de Madrid houses the HUMANIMALS PROJECT. A house-studio in Braojos de la Sierra is allowing the encounter, registration and systematization of experiences of activists, writers, artisans and artists about and with humanimals evocation. A commitment with the joy in front of a violent system in crisis. Because peace is not the state of no war, what can happen if we move this traveling garage-laboratory to the cities and co? Humanimals in the global(ized) city.
This project was initiated by Laura Corcuera in the Sierra Norte de Madrid in August 2017, through a series of unpublished photo-performances, an exercise-instruction-shared public invitation on Tumblr, Facebook and Twitter, as well as the personal invitation to 15 women writers, artists and activists to produce poetic materials that would be part of the Humanimals Achive.
Some Corcuera’s texts and a public invitation to a secret place to start. HUMANIMALS has several arms, legs. And other tips. On August 31, 2017, a group of 23 artists made the happening and audiovisual PANTANO G, “the film that will be screened in the next century”. The material is distributed among all the participants and now circulates through dozens of computers. A selection is shown in the live performance site specific Humanimals that Laura Corcuera presented at the INACT Festival in Strasbourg, France (May 5, 2018).
Since then, Corcuera has continued collecting Humanimals information in towns and cities of Southern Europe and North America, documented in different media. Humanimals follows its process in 2019.
To continue it will be necessary an operations center, a basecamp (Royal Ontario Museum- ROM?) to systematize, display and mix til 2021 the existing information, as well as open channels for collecting HUMANIMALS actions in other places around the world (Toronto?). Everything is a process and everything can change. HUMANIMALS comes from nowhere and goes to nothing.
