NADJA VERENA MARCIN
On a road trip through the Chapare region, I witnessed a sad situation: A dead woman, victim of a violent crime, lays on the rocks under the bridge Coni, surrounded by a group of police officers and excited locals. In “La Mujer” I devote a performance to the image of the fallen woman. An oversized, pale doll lays in the courtyard of the Goethe Centre outstretched, serving as the seat and jumping pillow. During the performance I stand on a 16ft (5m) high and 13ft (4m) long board, looking into the deep courtyard and citing abstractions from Jelinek‘s text “Sleeping Beauty.” The text tells of the turmoil of the emotional life, its intensity, depth and risk of dependence. The central image is the sleeping princess who wakes kissed by the living prince. Due to my unexpected and sudden jump on the doll in the courtyard, the risk disappears. The caricature of the Übermother becomes a symbol of ambiguity: the potential violence connected to emotional scenarios, the creeping indifference, the loss within their entertaining qualities.