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Performance , performance cycle since 2008.

Emilio Santisteban

Interdisciplinary performance artist

Arte de performance, arte da performance, performance art, Lima Peru Sudamérica América do Sul South America.

Photos © ElGalpón.espacio


Reading performance. October 18, 2011, Experiences of the meat. Lima Performance Meeting, Elgalpón Espacio (opening in the auditorium of the Cultural Center of Spain in Lima). Participants (taken by surprise, generously agreeing to collaborate): José Pablo Baraybar (Director of the Peruvian Forensic Anthropology Team) and Miguel Rubio (Director of the Yuyachkani cultural group).

Excerpt from the text read in the performance:

" ' What place has a body art in a country of missing bodies? "


This is another silent question. In 2008 I enunciated it in two performances. First in the performance entitled "Performance", which occurs in the reverberations of this question in the mind of someone who reads a vinyl on a wall; and then in the performance “Responda”, at the performance meeting organized by Guillermo Castrillón that year at the Mochileros Bar.


I will not go into descriptive details. The important thing is that the question appeared clearly on the inner side of the blindfold that suspended the vision of the seventy people of the participating public, and then insisted, as if not to be overlooked, in the interview that I myself did with each one. at the exit".


Perhaps I should not have been surprised by the fact that none of the colleagues who appeared summoned in the same meeting tried absolutely no direct answer to the question that asked them, as some members of the attending public did. It is not that they did not rehearse interlocutions with kindness, believing in this way to answer, but that all the answers were praise or judgment of the performance they had just experienced, elegant (and sometimes not so elegant) elusions to the question itself.


In this country of 70,000 ignored dead, in the midst of a meeting of self-defined performance professionals, mainly from dance and theater, no one among those who were there expressly summoned to confront and question, to think about performance, could stammer a answer, and not even a cross-question. Probably because together with the curator of the event Guillermo Castrillón, they agreed with Tarazona's book in understanding performance as the art of the artist's body exhibiting itself, and since they had not seen any body of the artist in the performance, what body were we talking about? In a context in which what counts is the body of the similar to oneself, present with narcissus enjoyment, with postmodern perversion, with individualistic success, the disappeared bodies were bodies that did not count in cognition, sensitivity, sensoriality and symbolic systems of those minds to which my question was directed.

An answer that I got from someone who is dedicated to doing performance -or who thinks that is what he does and is also prestigious for it- was etched in my memory. That person told me very loose of bones “your question is too conceptual, it makes me dizzy and I don't understand it” . Another person, who is not an artist and is a convinced and express fujimontesinista, answered me, rather stiff, "your question seems like a tongue twister and it does not mean anything ."


With the impressive and standardized coincidence of both reactions, that of the loose bone performer and that of the stiff fujimontesinista, I finally got my answer and you have gotten my comment on what might bring us together in this meeting ".

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