Özet:

Art always has been accompanying social transformations, through the representation of that which was happening; but it has also been (and is) social change agent. The artistic action –like any transforming attitude–, seeks to go beyond the law and is conditioned by the need to open it a place to the possible; and try to change the reality, in part to participate in the historical development or for the simple pleasure of the invention, as suggested Escovar W. White. In these processes, the body has been (and is) the object and art tool for these transforming events. One of the most artistic expressions which have been exploited the potential of expression of the body are the performances. Technological and media developments of sixties nurtured these artistic practices, giving rise to which they were designated video performances and video art. The technical reproducibility helped save these performances works of the immediacy of the moment, and then reproduced in other places, in other times, toward thousands of spectators, expanding the possibilities of movement and reception of his metaphors. This is intensified with the advent of the Internet and social networks. In this paper we propose to resume production of a video performance IA Single Ladies (2015) of a contemporary artist from Córdoba, Manuel Molina. We will try to reconstruct the metaphor inscribed in his work the current context, focusing on the aesthetic dimension. From our perspective, the metaphorical richness of the work lies in its potential micro-revolutionary gender-policy that can see in the reproduction of the gender-performativity of bodies on the scene.

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