A black cloth covers a white cloth, both of them cross horizontally the columns of the Museum of Contemporary Art building. I hang myself face to one of the columns; when I'm at heights I cut the threads that hold the black cloth, uncovering the white cloth with the phrase "This is my body" on it. I undress the top of my body and I stay hung.
Verticality has restricted history and has put pressure on bodies in diverse ways, that is, socially, politically, sexually, economically. The Institutions and their vertical, powerful buildings, exemplified in the Gothic cathedrals, the buildings of the Art Deco, some buildings of Neoclassicism, tell us about a power above and beyond ourselves, a subjugating power that is exercised from above and before which we are insignificant.
This performance ruptures the outer space, establishing a horizontal line on the frontage of the Museum of Contemporary Art building, like a questioning of that hierarchical vision of the world. A white cloth crosses the columns, where the phrase This is my body is printed, a clear signal of taking possession of the body and the soul, as a state of consciousness, of creativity and disobedience, in the midst of a society that questions the sovereignty of the female body and forces it to be submissive.
Creating from being, resisting the adversities of time, opposing the hierarchy implicit in architecture, there is this hanging body, alluding collaterally to the phrase: "this is the Body of Christ", of the Catholic rite. On the contrary, this is the common body of a woman, who, with her presence questions the museal place and offers herself to the street, to passersby. A woman resisting to the ecclesiastical vision of the body as a sin, and to the social-political mandate of domination; a woman who experiences, who risks herself in an unusual proposal, just by being present face to a column that attenuates her with its dimension, but which does not remain unbowed by this act.