ITZIAR BARRIO
1976. urtean Bilbon jaioa, Itziar Barrio (www.itziarbarrio.com) New Yorken bizi da eta han lan egiten du gaur egun. Artearen adar batzuk eta besteak jorratzen ditu: marrazkia, argazkigintza, animazioa, bideoa eta instalazioa.Bakarkako erakusketa asko egin ditu, esate baterako New Yorkeko HVCCAn, Italiako Agenzia04 galerian, Berlingo Weekend galerian eta Kunsthaus Tacheles-en edota Bartzelonako Sala Libre Completo-n. Bere azken bakarkako proiektuen artean New Yorkeko White Box-erako eta Brooklyn Arts Council-erako egin dituenak aurkitzen dira.
Itziar Barriok taldeko erakusketetan ere parte hartu izan du, esate baterako Habanako Biurtekoan, Gdansk-eko (Polonia) Arteen Akademian, New Yorkeko White Box-en eta Museum of Comic and Cartoon Art-en, Bogotako Now or Never-en, Los Angeleseko (California) Rio Hondo Festivalen, Estanbuleko (Turkia) Pist Space-n, Art Tech Media International Forum-en, eta Bilboko Rekalde aretoan. Proiektu berrienak The Blue Wall Projecteta Los peligros de la obediencia Bilbao-Nueva York izan dira, lehendabizikoa New Yorkeko New Museum Festival of Ideas for the New City-rako eta bigarrena Bilboko Antzerki eta Dantza garaikideko azken jaialdirako. Euskal artista hau irakasle gonbidatu gisa egon da Ipar Amerikako zenbait unibertsitatetan: Parsons, The New School for Design-en, Long Island University-n eta Westchester Community College-n, besteak beste, eta sari eta beka ugari jaso du, esatebaterako, ISCP, International Studio and Curatorial Program, New York (2010), New York City Department of Cultural Affairs (2009 y 2011), Espainiako gobernuko Kultura Ministerioarena (2009), Bizkaiko Foru Aldundiarena (2009) eta Eusko Jaurlaritzaren Ikusizko Arteen beste zenbait.
Casting The Perils of Obedience : A Performance (Trailer) /2013
Xavier Acarinek Itziar Barriok sortutako performancea ondo sakondu du. "In 1961, Israel judged and condemned to death Adolf Eichmann, the mastermind who organised the deportation of Jews from Eastern Europe and who was hunted down in Argentina; two years later, Stanley Milgram made public his investigations, in which he evidenced obedience to power: any subject is susceptible of infringing pain on others, following given orders. Milgram confirmed scientifically what Hannah Arendt had advanced in her polemical chronicles about the trial of Eichmann for The New Yorker. According to Arendt, Eichmann was the perfect bureaucrat, obedient to power and efficient in his work. A perfectly normal person, who just wanted to participate in something, to be part of a group and a project.
In Casting: The Perils of Obedience, the public enter one of the theatres of the Abrons Art Center, where the actors are already on stage improvising. The space is presented bare, apart from a few desks and cameras that surround the action. The acting continues, in pairs; all together; in silence, with music (by Krit and the Nirvana song Smells Like Teen Spirit)… until the director orders them to stop and begins a round of interviews. Some questions are repeated; “Why do you want this job?” “Are you a good liar?” “Have you ever broken the law?”; others are added or vary according to the answers. The actors reveal their sexual identities, their past errors, promises, fears and regrets, their past. One by one they pass in front of the camera. Once this round is over, together they improvise some scenes taken from Basic Instinct, Reservoir Dogs and All About Eve. The public abandons the theatre while the casting carries on inside.
Casting: The Perils of Obedience explores different levels, evidencing the mechanisms of repression and perpetuated obedience in the hierarchies of any structure. That similar tension, that heeding a constant rhythm, reoccurs in different contexts and relations. The actor wants to be chosen, wants to form part of the project and seduces the directors. Sharon Stone maintains the fatal attraction, Eve feels adored by the stalls. The scenes reproduces these tensions; there are leaders, anti-leaders, navigators, soldiers and discussions, that as in Reservoir Dogs, revolve around the system of tips with which waitresses all across the United States earn their living. Working conditions in a perverse system, that at the same time reverberate in the very situation created by this performance/casting/video. The iconic nature of the references pays heed in turn to the domina."
Published in A*Desk, Critical Thinking, April 2013
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