| The Shadow | |
|---|---|
| Artist | Abel Azcona |
| Year | 2014 |
| Medium | Performance Art Installation art |
| Location | León, Soria, Tarragona, Castellón |
The Shadow is a conceptual and performative work of critical, social and political content by artist Abel Azcona. In The Shadow, Azcona denounced cases of child abuse in a piece in which the survivors are the protagonists. In the work, Azcona presented more than two hundred actual cases of pedophilia in museums and galleries in various cities in Spain. [1] At each show, Azcona gave a live performance from a wooden swing of the experiences of the survivors. [2]
Azcona's work denounces child abuse and has been persecuted and denounced for being critical of the Christian Church in works such as The Shadow or Amen or The Pederasty . [3] This last one was sued three times before the Superior Court of Justice of Navarra for three crimes and alleged desecration and blasphemy. The first one by the Archbishopric of Pamplona and Tudela, who are representatives of the Catholic Church in the north of Spain. [4] [5] 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. [6] The lawsuits were won by Azcona, [7] [8] however the group took the complaint to the Supreme Court.
The Public University of Navarre, also known by its acronym UPNA or NUP, is a public university created in 1987 by the government of the Spanish autonomous region of Navarre. It has three campuses located in Pamplona and Tudela. Its activity began in 1989.
Laura García Benitez is a Spanish judoka who has represented Spain at the 2008 and 2012 Summer Paralympics.
Corruption in Navarre refers to a quick succession of corruption scandals which have come to light since 2012 referring to the UPN's tenure in office. However, amidst heated political confrontation since the late days of Franco's dictatorship, the first corruption cases erupted early on, going back to the first government cabinets formed after the establishment of Navarre's "Betterment".
Cambio-Aldaketa was a grouping of electors in Navarre supported by the "quadripartite", the political parties supporting Uxue Barkos's regional government—Geroa Bai, EH Bildu, Podemos and Izquierda-Ezkerra—to contest the 2015 Spanish Senate election. The first incarnation of the alliance was disbanded after it secured only one out of the four directly-elected senators in Navarre, with its stated aim having been to win the election and subsequently obtain three senators.
The 2023 Navarrese regional election was held on Sunday, 28 May 2023, to elect the 11th Parliament of the Chartered Community of Navarre. All 50 seats in the Parliament were up for election. The election was held simultaneously with regional elections in eleven other autonomous communities and local elections all throughout Spain.
Navarra Suma was an electoral alliance in Navarre formed by Navarrese People's Union (UPN), Citizens (Cs) and the People's Party (PP) ahead of the April 2019 Spanish general election and kept for the May 2019 local and regional elections. The goal of the three parties was to create a broad coalition of anti-nationalist centre-right forces in Navarre.
In the run up to the 2019 Spanish local elections, various organisations carried out opinion polling to gauge voting intention in local entities in Spain. Results of such polls for municipalities in Navarre are displayed in this article. The date range for these opinion polls is from the previous local elections, held on 24 May 2015, to the day the next elections were held, on 26 May 2019.
The 9th Parliament of Navarre was a meeting of the Parliament of Navarre, the regional legislature of Navarre, with the membership determined by the results of the regional election held on 24 May 2015. The parliament met for the first time on 17 June 2015.
Abel Azcona is a Spanish artist, specializing in performance art. His work includes installations, sculptures, and video art. He is known as the "enfant terrible" of Spanish contemporary art. His first works dealt with personal identity, violence and the limits of pain; his later works are of a more critical, political and social nature.
Amen, more commonly known as The Pederasty, is a conceptual, critical and process artwork by Abel Azcona. Over several months, Azcona attended Eucharists in churches and parishes that were linked to his childhood. In the churches, the artist keeps the wafer or consecrated host given to the attendees of the communion. He gathered two hundred and forty-two wafers, which was the number of cases of pederasty reported in the north of Spain during the previous decade. With the wafers, he made a work in which the word Pederasty could be read. The work was first exhibited at a central Madrid art gallery in the summer of 2015.
Empathy and Prostitution is a conceptual and performative work of critical and biographical content by artist Abel Azcona. Azcona was inspired by his biological mother, a prostitute, and sought to empathise with her and with the moment of his own conception. Azcona offered himself naked to the galleries' visitors on a bed with white sheets, so that they could exchange intimacy or have sexual relations with him.
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.
The Fathers is a conceptual and performative work of critical and biographical content by artist Abel Azcona. The Fathers was first performed in 2016 in Madrid with the final performance, also in Madrid, in 2017 in an exhibition format. The durational piece included dozens of female survivors of prostitution who gave a physical description of their last client. On the other side of a ten-meter-long table, composite artists listened to them and drew images of the clients. The performance generated dozens of portraits which, at the closing of the work in 2017, were exhibited with the premise that any of them could be Azcona's father. The biographical work creates a critical discourse with prostitution and its inheritance, and in the case of Azcona himself, of an unknown father, having been conceived during an act of prostitution.
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.
There are symbols that cannot be covered. The Monument to the Fallen of Pamplona is a clear example. Fighting this symbol with another is what Navarrese artist Abel Azcona has proposed, known for his performance, sometimes controversial and often linked to the body. In this case, Azcona does not propose this new art exhibition as a war between symbols, but as an invitation to arouse feelings and, also, as a claim. For him, it is about inciting memory, individual and collective.
The Shame is a conceptual, critical and process artwork by Abel Azcona. Developed along the West Bank Wall in 2018, in The Shame Azcona installed original fragments of the Berlin Wall along the Israeli wall in the West Bank, which forms part of the barrier built throughout Israel to separate the Palestinian lands. Azcona made a metaphorical critique by merging both walls in the work. The actual installation, as if it were a piece of land art, currently remains along the wall, and has been exhibited in different countries through photographic and video art. The Israeli government has prohibited the artist from entering Israel because of the piece.
The Streets is a conceptual and performative work of critical and biographical content by artist Abel Azcona. At the end of 2014 and the early part of 2015, Azcona explored the processual work La Calle this time in the Santa Fe locality of Bogota, where he prostituted himself on the streets. In this new work, he explored a change towards the figure of his mother, taking hormones and engaging in prostitution. Azcona was inspired by his biological mother, a prostitute, and sought to empathise with her and with the moment of his own conception. The process continued in the cities of Madrid and Mexico City. The performance emerged, as with the rest of his sex-themed works, as an exercise in empathy with his own biological mother. It was also a social critique, where the artist explored the limits of his body by repeating patterns of sexual abuse, which occurred in his own childhood and in the life of his mother.
Spain Asks for Forgiveness is a conceptual and performative work of critical and anti-colonial content by recognized artist Abel Azcona. Created and started in Bogotá in November 2018 through a conference and a live performance by Azcona at the museum of contemporary art of Bogotá.
Navarre Platform is a political and prospective electoral platform formed ahead of the 2023 Navarrese regional election by former Navarrese People's Union (UPN) Congress of Deputies MPs Sergio Sayas and Carlos García Adanero.
Lucía Baquedano Azcona is a Spanish writer and columnist for the media. Her literary work has received several awards.
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