Esther Planas

Copyright 2019

Eventos y Apariciones en Rojo:

Free association of found Reds, newer projects and retroactive
effects going on across time

Since 2008 I started to feel the strength of a feeling for the Red and of how the Red
spectre was creeping inside my spirit. There have been many years of a quasi amnesia,
of hopelessness, and defeat.
As I was feeling by then very furious before my powerlessness in front of the rise of
Fascism as a mode produced and facilitated by a decadence of the neoliberal, which
seemed to implode. Those forces or what usually are defined as affects haunted
my spirit and the memories of the promise which seemed to have been so defeated.

For two works and the shows in Barcelona and Guatemala in 2010 and January 2011,
I had this Red backgrounds and the memories of the thickness of much tragic bloodshed.
But also on how that Red was too hopeful color, as a flowing, and a convulsive dialectic.

The reference to the Red Event was directly taken from Alain Badiou's notions of being
and event and how the event will carry a trail and aura too. To re-call 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. I left a series of 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 (2015/16) 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.
As I was quoting Alana Badiou for my show and works in Proyectos Ultravioleta
in Guatemala in January 2011 and during my show Rojo Apariciones and Eventos,
it all 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.
_________________________________

more info here:

Labour Slogan Catching-up Red Events its appearing more and more around