On a road trip through the Chapare region Marcin witnesses a tragic event: A woman violently murdered, laying naked and stretched out along the rocks underneath the bridge Coni, surrounded by a group of police officers and locals. While working through the trauma in reaction to the crime, Marcin uncovers its symbolical power. This victim of a lynching, apparently common in this rural area, becomes a symbol for a society that has lost grace. With La Mujer, Marcin revives the image of the fallen woman inside a live performance. A humongous sculpture of a greenish pale woman body with bloody red spots lays stretched out over the courtyard of the Goethe Center. During the performance Marcin stands on the upper level of the courtyard and climbs onto a 13ft (4m) long slim wooden board in 16ft (5m) height and cites abstractions from Jelinek‘s „Sleeping Beauty.“ The text speaks to the ambiguity of embodiment, transitioning through conscious, subconscious and unconscious states. Marcin embodies this emotional forlornness by placing herself onto a slim jumping board, representing a dream-like state where one is vulnerable to risk, the concrete courtyard below representing wakefulness. The physical fear of falling is evaded through the meditative act of reading the text out loud and through the final unleashing jump, a physical manifestation to defy the fear of death, submit to gravity and its grounding force of life, landing on the plush pillow sculpture. This gesture employs the perspective of Slavoj Zizek on the externalization of interior life: “Unconsciousness is outside, not hidden in any unfathomable depths.” (Zizek, The Plague of Fantasie.) In la Mujer the artist succumbs and overcomes the symbolic order of life and death, dreaming and wakefulness. This performance was realized with the support of Goethe Center Santa Cruz & Galeria KIOSKO.

On a road trip through the Chapare region Marcin witnesses a tragic event: A woman violently murdered, laying naked and stretched out along the rocks underneath the bridge Coni, surrounded by a group of police officers and locals. While working through the trauma in reaction to the crime, Marcin uncovers its symbolical power. This victim of a lynching, apparently common in this rural area, becomes a symbol for a society that has lost grace. With La Mujer, Marcin revives the image of the fallen woman inside a live performance. A humongous sculpture of a greenish pale woman body with bloody red spots lays stretched out over the courtyard of the Goethe Center. During the performance Marcin stands on the upper level of the courtyard and climbs onto a 13ft (4m) long slim wooden board in 16ft (5m) height and cites abstractions from Jelinek‘s „Sleeping Beauty.“ The text speaks to the ambiguity of embodiment, transitioning through conscious, subconscious and unconscious states. Marcin embodies this emotional forlornness by placing herself onto a slim jumping board, representing a dream-like state where one is vulnerable to risk, the concrete courtyard below representing wakefulness. The physical fear of falling is evaded through the meditative act of reading the text out loud and through the final unleashing jump, a physical manifestation to defy the fear of death, submit to gravity and its grounding force of life, landing on the plush pillow sculpture. This gesture employs the perspective of Slavoj Zizek on the externalization of interior life: “Unconsciousness is outside, not hidden in any unfathomable depths.” (Zizek, The Plague of Fantasie.) In la Mujer the artist succumbs and overcomes the symbolic order of life and death, dreaming and wakefulness. This performance was realized with the support of Goethe Center Santa Cruz & Galeria KIOSKO.