A performance artist placed blow up dolls in a stream in order to generate commentary on the Ophelia masterpiece.

Result #1

A performance artist placed blow up dolls in a stream in order to generate commentary on the Ophelia masterpiece. Her performances were conducted by an actor who played the artist, and the performances were carried out under the guise of an artist-in-residence. Here, the artist-in-residence, in the role of the performer, was to give the audience a direct participation in the creation of the painting. The exhibition thus sought to raise questions about the role of the artist in contemporary art. It was, in fact, a very clever exhibition, but its intentions were less than convincing.The best part of this exhibition was the installation itself, which consisted of five large mirrors placed on the gallery walls. On the floor, there were five red, black, and white photographs of a young girl who looks very much like the artist. She is seen in the act of painting, and the action is broken up by a glassy-eyed, masklike face. The artist seems to be holding a flower in her hand; it is a tiny red flower, and she is painting a portrait of herself. The mirror frames the mirrors, making them appear as self-reflecting entities, and the images are all taken from paintings. The works are all made of clay and the clay is then molded into images of various shapes and sizes, and placed on the mirrored surface.The images of the artist, of course, are all taken from paintings, and the artist-in-residence becomes the artist-in-residence. The other artists in the installation were also assumed to be the same artist-in-residence, but only in their individual works. This is the only way to create a dialogue, but it is a difficult one because the works are always in conflict with one another. The two figures in the photographs, for example, are both depicted in a very familiar way. In the first, a woman looks at us; in the second, she is seen from behind.

Result #2

This performance was interrupted by the sound of the artist singing and the rhythmic sounds of the blowups. A film was projected on the walls of the gallery showing a woman walking across a city, a woman in a black dress and black shoes. As she walks across the street, a car pulls up and a girl starts to dance on the hood of the car. The car then pulls over the girl, and the car drives off. In the end, the girl is left to her own devices, to move her body. The film is a dance-theater of sorts, and the woman is the viewer, the camera the performer. The film ends as the camera zooms out, and the woman is no longer a dancer, but the camera itself.The object of the performance was the Ophelia, but the work was also a commentary on the artist, the gallery, and the viewer. The piece was not a critique of the Ophelia but an affirmation of it. The piece was an affirmation of the concept of the erotic, and a critique of the concept of the erotic.

Result #3

In a way, these pieces suggest the creation of the artist as a performer. In the end, however, the artistic function of the doll and the artist is not a function of the body. In fact, the body is a symbolic body—an anemic, and thus, inescapable, and therefore entirely meaningless. The body is the sign of the unconscious. In this respect, the body is a fetish, a vessel of desire. This is what the doll-makers sculpture evokes, and what the body has to do with it.

Result #4

A performance artist placed blow up dolls in a stream in order to generate commentary on the Ophelia masterpiece. Her daughters would then watch them as she translated their words into Spanish, which she then translated into English. The other pieces included a video (Untitled, 2004) showing a womans face and the names of the other artists on the video playing out a series of situations that take place in an imaginary museum. The title of the video, Aparatistas, evokes the idea of an artist as a researcher, but the work is also about the artist as the researcher, and the video is a critique of the anthropological tradition. The video shows an old woman, whom the artist has called a shaman, wandering through a public park. She talks about her experiences with the shaman, the power of words and the power of thought. Aparatistas is an act of searching for a deeper meaning, and it is a reminder that the artists role as researcher is never self-referential.The video also contains a photograph of a woman with a broken leg, a message for the viewer to read, since it is the broken leg that serves as the subject of the video. Here, the artist, a man, and a woman with a broken leg are seen in close proximity, sitting in a chair. The camera pans over the two and the woman is seen walking around the chair. The man, who is wearing a blue shirt, is seen standing behind the woman and the chair. The woman is seen on the chair, but only in silhouette. The photograph is taken in the foreground, but the chair is not. The work reveals the distance between the artist and the subject of the photograph, and the fact that the man is not the one who sits on the chair, but rather the photographer. The fact that the subject of the photograph is not the one who sits in it, but the one who stands in front of it, makes the distance between the two equally ambiguous.

Result #5

A performance artist placed blow up dolls in a stream in order to generate commentary on the Ophelia masterpiece. The final work, by a young woman, was a kind of ikebana, in which a group of dolls, in a manner of speaking, read the text of the Ophelia poem. The text was also a text, and it was read aloud, and the voice of the text was a voice, and it was read aloud. The words were not the words of an author but were written by a group of dolls. The ikebana, the vernacular, the everyday, the alienating, the unconscious—all these things were here. And they were all there, in the bodies of the dolls, and they were all there in the dolls. The words, spoken by these doll-dolls, became the vernacular, the vernacular of the dolls, and the text was also the ikebana of the text.The exhibition thus concluded with a story that is not a story, but an act. The story was the story of a young woman who was raped by her husband, who then committed suicide. It is a story that is told by the body of a woman who has been raped. The body of a woman who has been raped, and who has never spoken before. This is the story of a young woman who has been raped.The exhibition thus ended with a work that is not a work. It is an act, a performance. It is an act of communication. The body of a woman who has been raped. The body of a woman who has been raped. This is the story of a young woman who has been raped. The act is a speechless act. The act is a spontaneous act.The performance ends with the words, I have made a promise to you. The performance ends with the words, I am making a promise to you. The act is complete, and the performance is over. The body of a woman who has been raped is no longer a body.