Laundry  (USA)
MOCA (Miami, USA)


The "activist" part : In live performances ( ACTA NON VERBA), She silently protests all acts of domination by wearing clothes from colonial times and slowly moving her hands from her  eyes to her ears and  her mouth. For context, she places herself in symbolic places, such as a laundromat, a run-down train car that was once used by President Roosevelt  (POTUS1).

If the human body is prime, it appears with its blood and clothing. Clothing is its shape, meaning that it is the medium, and at the same time, a certain definition of that body, that through which, one encounters another independently from his/her face or members. Beyond a simple superficiality of no consequence, the apparel participates in a vast symbolic game and expresses a manner of interacting with one another, in short, of living together in society. The adornment of the body itself establishes the social fabric. Clothing -and by extension the fabric- serves as the basis for social reality.
The apparel is at the same time ambivalent : authenticity and pretense are generously mixed there. The apparel gives one the ability to be totally de-individualized and yet remain oneself. The qualities of this modulation of the appearance could be multiplied.

In the first place, the Performance is an opportunity to present the highly ambivalent, even contradictory, character of clothing conventions, taking into account the fact that clothing is not the simple reflection of one’s identity. Clothing is an evidence of the reversibility of identity. Thus, simply clothed, the body disappears under cover while dressed up, disguised, adorned with different layers of garments or make-up, and it affirms its randomly contoured character. Plaisir raise the issue of being and appearing, of truth and lying, of the inner man and the outside appearance.

The apparel is a denouncer. While just a support providing an image of oneself—and we are defined and judged on the basis of that image—it does not fully reflect our personality. What is more, that image can be a hindrance to communication, in that it determines attitudes, situations, and ultimately relationships. For instance, the white shirt is not only a sign of neatness, but also a social symbol.

During the performance, even when intermittent concerning the artist’s presence in the performance space,

Acta Non Verba, is an exercise in life itself, and it is primarily real. It stimulates memory activation, sentiments, instinctual feelings and the most profound beliefs in those who participate. Conversely, during non-performance, the appropriated space communicates a sense of impermanence, usurped identity, and the transfer of created objects, transmitted in the absence of sensorial perceptions. Notions of space and truth, therefore, move throughout different levels and degrees, intermingling continuously between real and virtual.