“I have lived many lives and none are yours”
by Concha Martinez Montalvo
Start and end dates of the exhibition: 03/20/2015 – 04/06/2015
Artist: Concha Martinez Montalvo
Organizers: Fundación Casa Pintada - FCP (Painted House Foundation)
Fundación Casa Pintada (Painted House Foundation) – Cristobal Gabarron Museum of Mula presents on Friday, March 20 at 8 pm the exhibition: ‘I have lived many lives and none are yours’ by Concha Martinez Montalvo.
Martinez Montalvo’s daily work is an essay – like her life, her works redefine gender issues and life stories, anonymous stories by women worldwide who suffer neglect. Her work aims to preserve and report, giving a voice to those who were left silent, to unknown women. Her works go beyond the representation of a reality. They have the will to “keep the memory”, on the one hand, of the act of creation itself and its processes: preparation, elaboration, and manufacturing in the broadest sense of the art work construction; and on the other hand, metaphorically addressing the white, pure and spotless testimonies, the helplessness of many women.
The exhibition, made with porcelain sculptures, is divided into three spaces: In Hall I, a video introduces us to “I lived many lives and none are yours”, where a number of mutilated torsos evoke the idea of identity. They are metaphors of pain and violence, “rooms of the body” inhabited by females that are not present, models absent from the action that are elsewhere, like the white dress full of “shells” as if maculae, memory of a stolen and appropriated youth.
In Hall II, we find two installations of great lyricism: “The voice of the missing”, porcelain mouths that proclaim what has happened to some women; and “Bride – girl, girl – bride”, complaint of the situation in which girls are forced to marry against their will. All are artistic interventions that provide and manage an enormous strain on the animate and the inanimate.
The art show, as an epilogue and “thread of memory”, is still reeling in a video in the solitude of the Cellar, in the empty jars marking the absences, etc., bringing to memory the girls who once were, beaten by patriarchy, and which makes us live a subjectivity from the present.
The works are not limited to reproducing bodies, but to “produce” their models that she conceives in the pantheon of immortality, which is not a mausoleum or a memory turned into a memorial. They are works with an enormous poetic power that is present in the artistic gesture of the trace as a lasting memory of the stolen absences. While she puts the accent on “memoirs as a genre”, Martinez Montalvo introduces a narrative of the story itself that extends from one piece to another, from one installation to another.
Juan Garcia Sandoval
Art critic, museum director and curator of the art show