Eventos y Apariciones en Rojo, free association, found Reds, newer projects retroactive effects going on

Since 2008 I started to feel the strength of Red and the Red spectre that was creeping inside my spirit that was by then feeling very disturbed and hopeless, while furious and wild all in front of the rise of Fascism and a neoliberal decadence that haunted my spirit.

My two shows in Barcelona and Guatemala in 2010 and January 2011, had this Red backgrounds and thickness of tragic blood shed and of a hopeful color, as a flowing, and a convulsive dialectic.

To re-enact a performance from 1998 and to call those Red spirits, as a way of dissolving as author and create a community like feeling around a series of workshops that will have very present all about spiritism.

Leaving Barcelona to do a show at a new space in Guatemala, just in a barely started 2011, I take with me the Red. Red is going to let me know how and where wants to appear at the space once I enter in contact with it .

Leaving signs and traces, insights and legacies that were latent when I was about to formalise the installations.

First as a thin Red line that was crossing all objects of a dismantled barricade and in the graphics of a publication that was propaganda like.

Later on to the next show and only with three months difference, the Neo-Concrete internationalist movements, the use of monochrome and the Red as energetic aural object, like sculptural totems and presences that were surrounding myself with the ghost of the artist that had used the Red colour, and of the Red colour transcending arts and gathering its own momentum for a political change.

Since the last years some artist, activist and theorist have "discovered" my works on Red and they have been featured in Seattle's Independent space INCA and with the project This Might Not Work.

The difference from artist like Hami Bahadori from This Might Not Work versus Dora García is more than obvious; he acknowledges and includes the source of inspiration the other keeps at the top, being the famous and powerful artist which by "inspiring her self" but denying sources or connections exercises a classic process of capitalist relations between professionals, work colleagues etc, which is to "extract" a sort of micro extractive pattern where the extractivist privileged subject vampirise the less protected and talented source of ideas.

Here too is the example of a discussion originated by another artist who saw the facebook page of Dora García and felt the urge to make a questioning post. To me all of this are unfolds and ramifications of the power or aura of ones works or the other's interactions and resonances.
The Capitalist Neoliberal condition makes of dynamics between known artist and better placed curators and artist-curators most of times predating agents instead of good company and mediators which we very much need.

In June 2019 just discovered one of the latest pieces of the Red Puzzle: Alfredo Jaar's Marx's Lounge from 2011. What a shame indeed no one was there to place the dots together, or was I considered as important as he. Alfredo is just 5 years older than me and I am more in line with his group age starting from my relations to the whole leftwing artist and dissidents from the 70's which I had the privilege to know or be-friend. No wonder I was synchronic to him. I was quoting Alana Badiou in my show and works in Proyectos Ultravioleta in Guatemala in January 2011 during my show Rojo Apariciones and Eventos. It was connected indeed! It was the right spirit. I am happy that it happened even if no one was there to realise. This is another matter....

Text for Red May at INCA Institute
extract:

Red May

Esther Planas Balduz, Felix Gmelin, Talena Lachelle Queen, Clark Wiegman, RabRab, and Kathleen Skeels
INCA: 2 West Roy St. Seattle, WA, 98110
Exhibition: 28 April – 10 May
Opening: 28 April 7-9pm
Curated by the Red May Collective
_________________________________

Red May launch with an exhibition with work by artists: Esther Planas Balduz, Felix Gmelin, Talena Lachelle Queen, Clark Wiegman, RabRab, and Kathleen Skeels.

WE WANT SEATTLE TO TURN RED FOR A MONTH. TO EAT RED FOOD (APPLES, RED DOTS, RADISHES), TO WEAR RED ACCESSORIES, TO GET CAUGHT RED-HANDED READING KARL MARX, AND (WHILE THE WORLD MAXIMIZES HUMAN CAPITAL) TO LIVE PRODIGALLY IN THE RED AS IF THERE’S NO TOMORROW. ANYONE CAN PLAY. THE RULES? THERE ARE ONLY TWO. FIRST, RIFF ON RED. AND SECOND, ASSUME FOR A MONTH THAT THE MARKET IS NOT THE SOLUTION TO THE PROBLEMS THAT THE MARKET CREATES.
_________________________________

ARTIST’S BIOS:

Esther Planas Balduz is a Catalan artist based in London. Planas Balduz studied Contemporary Dance at The London Contemporary Dance School in London and El Institut del Teatre Barcelona. She published V.O. magazine, and DARK STAR: both series of publications have being acquired recently by MACBA Arxius. Planas Balduz is also the founder member of the artist cooperative Five Years in London.

more info here:

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 found in 2019!RetroFuture A.Jaar/11   all lined-up between 2009/2011 Red  
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 plagios:amigo cuestiona DoraGarcia     
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 plagio-extracción:contagiadas-deny      
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 questions on red plagiarisms     
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 more questions on fb on plagio     
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 denounced by artist comrade    friend's shock at blatantplagiarist 
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