The Death of The Artist

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The Death of The Artist
El artista Abel Azcona, retratado en el Circulo de Bellas Artes de Madrid.jpg
Artist Abel Azcona
Year2018
Medium Performance Art
Location Circulo de Bellas Artes, Madrid, Spain

The Death of The Artist is a conceptual and performative work of critical content by artist Abel Azcona. The artwork was both a continuation of his earlier works and closure of the series, being performed in 2018 in the lobby of the Circulo de Bellas Artes in Madrid. His previous works had caused Azcona to receive threats, persecution, and acts of violence. By letter, the artist invited the organizations, groups, and entities that had threatened his life to the installation, where a loaded firearm was offered and Azcona stood exposed on a raised platform. [1]

Contents

Persecution and criticism

Abel Azcona has been involved in several controversies and legal proceedings. In his first actions in the streets of Pamplona in 2005, Azcona was arrested several times. [2] Later, during his self-confinement in the work Dark Room, public opinion was against the harshness of his self-imposed deprivation of liberty and food, generating controversy. [3] The work was stopped after 42 days and the artist was admitted to a psychiatric clinic. [4] Similarly, during the installation where another artist stayed continually in a garbage container at the Lyon Biennale, people spoke in favor of ending the work. [5]

The works of Azcona with explicit sexuality such as Empathy and Prostitution or Las Horas, were criticized when shown in cities such as Houston and Mexico City, cities where at the time of the exposition antisodomy or anti-sexual diversity laws existed. [6] In 2012, he was threatened and persecuted for his work Eating a Koran, in which he ingested a copy of the Koran at University of the Arts in Berlin. [7] During the years 2014 and 2015 he was arrested and his exhibitions in the United States were canceled. In 2014, the first Utero performance in Houston was criticized in the media for "exceeding the limits of integrity and endangering his own life". [8] During a Miami exhibition in 2015, twelve children walked into a performance inside the art gallery with firearms in their hands, which was a critique of the laws and the permissibility of weapons in the United States. The exhibition was canceled and Azcona had to return to Europe. A few months later he performed a new work in Chicago, where he denounced the political and ideological nature of Donald Trump. The artistic action was considered "heroic" by the American Huffington Post . [9] In 2015, he was denounced by the Carlist Traditionalist Union for performing the work Buried inside the Monument to the Fallen in Pamplona. The work demanded memory and reparation for the victims of the Republican side. Its exhibition inside the Monument, built in order to exalt Franco, Mola, and Sanjurjo, was considered offensive by far-right conservatives.[ who? ] [10]

Azcona's work denounces child abuse and has been persecuted and denounced for being critical of the Church in works such as The Shadow or Amen or The Pederasty . [11] The latter was sued three times before the Superior Court of Justice of Navarra for desecration and blasphemy by the Archbishopric of Pamplona and Tudela, who are representatives of the Catholic Church in the north of Spain. [12] [13] The second one, by the Delegation of the Government in Navarra, controlled by the Popular Party at the time, and the third one by The Asociación Española de Abogados Cristianos (Spanish Association of Christian Lawyers), who also made criminal complaints against Azcona. [14] The lawsuits were won by Azcona, [15] [16] however the group took the complaint to the Supreme Court. Whilst awaiting the case being heard by the Supreme Court, the Association of Christian Lawyers, in this instance acting alone, started an action against Spain in the European Court of Human Rights in Strasbourg for not condemning Azcona, [17] [18] and according to them, to protect him. Each time the work was shown, the complaint was re-formulated, so Azcona was cited in the Court of Justice of Palma de Mallorca and in the High Court of Justice of Catalonia in Barcelona. After five years of judicial proceedings for critical works against the Catholic Church and more specifically, with pedophilia, Azcona declared his " disobedience" in relation to charges, and the complainants included obstruction of justice in their complaints. [19] [20] [21]

In 2016, Azcona was accused of exalting terrorism. [22] [23] In his exhibition Still Life, [24] Azcona recreated, in the form of sculptures, performance and hyper-realistic installations, current and historical situations of violence in diverse themes such as historical memory, terrorism and conflict. [25] Two years later, in 2018, he was denounced by the Francisco Franco National Foundation for exposing in one of his works a detonation report, signed by an architect, of the Monument of the Valley of the Fallen. [26] He was also criticized by the State of Israel for the piece The Shame, where the artist installed fragments of the Berlin Wall along the West Bank Wall. [27] The same year he represented Spain at the Asia Art Biennial in Dhaka. Azcona installed wooden chairs in the Pavilion with distressed children from the streets of Dhaka. His performance was interrupted by the protests of the organization and attendees.

Manifest

In addition, the Círculo de Bellas Artes presented a complete reading of The artist's presumption as a radical and disobedient subject, both in life and in death manifesto. [28] [29]

Bibliography

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Abel Azcona, the son of a prostituted woman who is looking for his whoremonger father, because it perfectly summarizes everything that the patriarchy has built on their subordination and for our autonomy. Abel represents the aching son of an unknown father. All of us are those men who walk on their backs. To those who do not see their faces until the end. Those parents who sign unwritten covenants and who leave their semen springs across the planet. Those who rent vaginas, wombs, and maids. It is urgent to face those who prefer to remain installed in comfort. Only in this way will it be possible to turn our face towards the camera, without fear of being recognized in a robot portrait of a whoremonger father. Without fear of the mirror returning the image of a monster.

Buried is a conceptual and performative work of critical, social and political content by artist Abel Azcona. The performance artwork was created in 2015 through a public and participatory performance, or happening, on the esplanade of Franco's Monument to the Fallen in Pamplona. Azcona invited dozens of relatives of Republicans who were shot, persecuted or disappeared during the Spanish Civil War. Descendants of victims make up the installation in a row in front of the monument, all symbolically buried with soil from the garden of one of the participants, where his relatives had been shot. In 2016 the city of Pamplona invited Azcona to show his work inside the Monument and the project was recreated inside the Monument, which had been converted into an exhibition hall, under the name of Unearthed: A retrospective view on the political and subversive work of the artist Abel Azcona. The exhibition brought together the Buried project and fragments of all of Azcona's works.

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File 09812 is a conceptual and performative work of critical and biographical content by artist Abel Azcona. The artist shows, in an art installation and documentary way, his Social Welfare file, fully exposed in various occasions. These documents speak of a child in a situation of total abandonment, with visible signs of abuse, neglect and malnutrition, and testimonies from neighbors and the environment are provided confirming that the child could be left for weeks in total solitude in the apartment, which did not meet the minimum habitability conditions. The documentary installation is accompanied by a performative reading of each of the pages of the file by Abel Azcona himself. The artwork was responsible for inaugurating the International Contemporary Art Fair of the Mediterranean. The work was part of the retrospective exhibition dedicated to the artist by the city of Pamplona in 2015.

Disturbing and disconcerting. Intimate and emotional. Abel Azcona, who had already been seen by the fair, walks barefoot and dressed completely in black on the esplanade of the Palau de la Festa and surroundings. He stands among the people, who await him. He gets on stage with some papers. File No. 09812 begins. Azcona stands facing the public, who is staring, and begins to read the file. And so, among the coldness of those mechanical words and administrative jargon, his childhood is recounted; prostitute mother, drug addict father, from house to house, environments in which a child should never be found, social services, an expensive attempt at adoption by a foster family and even sexual abuse. A long process that evidences a hard childhood. Azcona finishes reading File No. 09812, his file. He finishes and gets off the platform, leaves the esplanade and walks through the surroundings in tears until Enrique Bocángelus, director of the International Contemporary Art Fair of the Mediterranean Mars, approaches him and they merge into a hug. People, meanwhile, read the file, perhaps trying to understand why a child has to go through something like that or simply thanking him for being able to expose it that way. Mars is silent, and that is only the first day.

The Nine Confinements, also known as The Deprivation of Liberty is a conceptual, endurance art and performative work of critical and biographical content by artist Abel Azcona. The artwork was a sequence of performances carried out between 2013 and 2016. All of the series had a theme of deprivation of liberty. The first in the series was performed by Azcona in 2013 and named Confinement in Search of Identity. The artist was to remain for sixty days in a space built inside an art gallery of Madrid, with scarce food resources and in total darkness. The performance was stopped after forty-two days for health reasons and the artist hospitalised. Azcona created these works as a reflection and also a discursive interruption of his own mental illness, being one of the recurring themes in Azcona's work.

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References

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