Series of Photo collages that plays chronological, social and philosophically with well recognize performance’s registering, rescuing the repetition made by different people of the same gestures in several historical and cultural contexts. The sense added to the group of images with the given titles reveals stereotypes of conduct and humorously strip how cyclical history behaves.
All montages have a blank space in the search to stimulate the imagination of the viewers to place themselves in the same situations of the performance’s registering. Also each of the works introduces within the same graphical structure and thought several characters of different performance areas like: TV show, visual arts or social life. Such mix looks after evidence the re-formance as a concept that takes into account all facets of human body, embracing all the possibilities of being without discrimination or prejudice.
On this Photo:
THE DUMMIES’ CONSCIOUSNESS OR THREE GOOD FOR NOTHING
TONSURA PANIC OR DISORDER, PROGRESS AND RETRO-SENSE
FOUR TRULY GAROTINHAS CARIOCAS OR IS TRA(D)ITION
THE PACKAGE'S CONVICTION
Dual-phase Photography measured 1.90cm high by 1.20cm wide, wrapped in a transparent plastic bag and hanging from the ceiling.
One hand of the photograph shows a collage of images of people who are inside plastic packages and the other side displays Monroy’s inside a package along with a descriptive and chronological narrative of the images that are part of the collage printed on the opposite side of photography. The piece proposes a re-formatic, historical and critical reading of pieces in art history and gestures of everyday life that for different reasons made use of performatic package from 1965 to the present days.
Poem of approx. 30,000 cm in extension wrote penciled directly on the wall at a height of approx. 60 cm. The work begun outside the front door of the exhibition room, entering and passing through all the walls getting down its height, becoming only 15 cm of the ground in its lower point. The text subtly escort all the works at the exhibit, passing under them, slipping between corners, panels and objects and coming out by the other side end of the front door out to the exhibit room. Because of the changing height of the poem it is necessary for the spectators to change body position to read the text.
Performance registering printed as photocopies on paper
DETAIL XE-ROY LE PERIPATICIEN
DETAIL XE-ROY: ARTIST OF THE MOMENT
DETAIL XE-ROY: MY NAME IS ANDREA FRASER