LAURA BLÜER / HILARY SAND
Two women bake dozens of cakes. They destroy them. They use tools like rakes, knives and hands to attack symbols of a deranged femininity. Messes without maids. Enjoy iconoclasm at home.
In “DOMESTICIDAD” we burn tampons like birthday candles and smash cakes on Lena Dunham’s Rolling Stone Magazine cover. Wearing yellow rubber gloves we jack off Jesus candles and squirt heavy whipping cream to extinguish their flames. We do these and other actions to insult oppressive symbols and critique trends in feminism and domesticity.
Video as the final product of the performance is important to note. I wanted to experiment with video-performance as an objective of the live piece. I’ve seen many artists and institutions that are obsessed with the cleanest, most conventional means of documenting and archiving a performance—which is to stick a camera or two on a tripod and catch wide angle shots for a final, all but unedited video document. If the purpose of archiving performance is to preserve what it meant in front of an audience, the most effective way of doing so is to manipulate time, perspective, and sound in the documentation. “DOMESTICIDAD” was performed for over ten hours in two locations to produce a ten minute video-performance.
The piece was inspired by Fluxus event scores, the writings of Julieta Paredes and the Mujeres Creando Comunidad collective, and interviews with Camila Vallejo about being a Communist female politician in Chile.