Abel Azcona | |
---|---|
Born | Abel Luján Gutierrez[a] April 1, 1988 Madrid, Spain |
Known for | Performance Art, Process Art, Body Art |
Notable work |
|
Movement | Conceptual art, Performance Art, Process Art |
Website | abelazcona |
Abel Azcona (Madrid[b], April 1, 1988) is a Spanish artist, specializing in performance art. [1][2] His work includes installations,[3] sculptures,[4] and video art.[5] He is known in his country as the enfant terrible of Spanish Contemporary Art.[6] His first works dealth with personal identity, violence and the limits of pain; his later works are of a more critical, political and social nature.[7]
Azcona's work has been exhibited at the Asian Art Biennale in Dhaka and Taipei,[8] the Lyon Biennale,[9] the Miami International Performance Festival[10] and the Bangladesh Live Art Biennale.[11] His work is present in the Contemporary Art Center in Málaga,[12] the Bogotá Museum of Modern Art,[13] the Houston Art League,[14] the Leslie-Lohman Museum of Art in New York[15] or the Círculo de Bellas Artes in Madrid.[16] The Bogotá Museum of Contemporary Art dedicated a retrospective exhibition to him in 2014.[17][18]
Art career
Abel Azcona's first performances were created in the streets of Pamplona starting in 2005, when he was a student in the Pamplona School of Art.[19][20][21] All of them had a critical spirit and the objective of denunciation.[21][22][20] During these first years, Azcona turned the traumatic experiences he had lived into his first artistic works.[23] In 2011[24] and 2012[25] his artworks started getting greater relevance.[26][27]
Azcona's works take his body to the limits and are usually related to social issues.[28] Abel Azcona declares that with his works he seeks an end beyond the purely aesthetic.[29][30][31] His intention with each artistic action is to transform the viewer internally and to force them to react. This way, he makes of his own body the representation of critical and political subjects.[20][32][7] The themes of most of his performances are, for the most part, autobiographical and focused on issues such as abandonment, violence, abuse and child abuse, mental illness, deprivation of liberty, prostitution, life and death.[19][33][34]
Controversy and polemics
Azcona has been involved in several controversies and legal proceedings. In his first actions in the streets of Pamplona in 2005, Azcona was arrested several times.[35] Years later, in the first actions of confinement, public opinion was contrary to the harshness of the deprivation of liberty and food, generating controversy.[36] In fact, the work was interrupted in the middle of the controversy and the artist admitted to a psychiatric clinic.[37] Likewise, in the installation where the artist remained uninterrupted in a container at the Lyon Biennale, people spoke in favor of the interruption of the procedural work.[38]
The works of Azcona with explicit sexuality such as Empathy and Prostitution or Las Horas, were criticized when inaugurated in cities such as Houston or Mexico City, cities where at the time of the exposition, existed antisodomy or sexual diversity laws.[39] Also in 2012, he is threatened and persecuted for his work Eating a Koran, where he ingests a copy of the Koran at University of the Arts in Berlin, generating great controversy.[40] During the years 2014 and 2015 he was arrested and his exhibitions in the United States were canceled. In 2014, the first Utero performance in Houston is criticized in the media for "exceeding the limits of integrity and endangering his own life.".[41] In 2015, in an exhibition in Miami, twelve children walked in a performance inside the art gallery with firearms in their hands, with was a critique of the laws and the permissibility of weapons in the United States. The exhibition was canceled and closed and Azcona had to return to Europe. A few months later he performed a new action in Chicago where, through a performative installation, he denounced the political and ideological nature of Donald Trump. The artistic action was considered "heroic" by the American media Huffington Post.[42] In 2015, he was denounced by the Carlist Traditionalist Union for exposing the work Buried inside the Monument to the Fallen of Pamplona. The work demanded memory and reparation for the victims of the Republican side and when it was exhibited inside the Monument built in order to exalt Franco, Mola and Sansurjo, it was considered an offense by the far-right conservatives. [43]
Abel Azcona's work denounces cases of child abuse and has been persecuted and denounced for being critical of the Church. [44] The Catholic Church sued Azcona before the Superior Court of Justice of Navarra for three crimes and alleged desecration and blasphemy.[45][46] In the same case the Delegation of the Government in Navarra, during the government of the Popular Party and the Christian Lawyers entity, joined the latter through a criminal complaint against Abel Azcona. [47] The lawsuits were won by Azcona.[48][49] The cause of the Superior Court of Justice of Navarra has been filed, the group complaint was presented to the Supreme Court and was filed yet again. Despite the persecution of Azcona, the Christian Lawyers entity, this time by themselves, decided to sue Spain at the European Court of Human Rights in Strasbourg for not condemning Azcona,[50][51] and according to them, to protect him. Each time the work was exposed, the complaint was re-formulated, so Azcona was cited in the Court of Justice of Palma de Mallorca and in the High Court of Justice of Catalonia in Barcelona. Five years of judicial proceedings for critical works with the Catholic Church and more specifically, with pedophilia. In the latest demands of the Catholic Church, Azcona decided to declare disobedience, and the complainants included the crime of obstruction of justice in their complaints.[52][53][54]
When the High Court of Justice of Catalonia presented a judicial arrest warrant order against the artist for not declaring three times, Azcona decided to go into exile and settle in Portugal, in the city of Lisbon, in the year 2019.[55][56][52] This has not prevented him from opening new exhibitions in the Spanish country and publishing critical works, some of them demanded again. He defends his artistic ideology and his political ideas, which find accommodation in certain sectors of the Spanish left-wing.[45][57][58] On the other hand, his works are seen as desecrations and sacrileges by the most conservative sector of Spanish and Latin American society.[51][59][60]
In 2016, Azcona is denounced for exalting terrorism[61][62] in his exhibition Still Life,[63] where the artist recreated in the form of sculptures, performance and hyperrealistic installations real and historical situations of violence of diverse themes such as historical memory, terrorism or conflict.[64] Two years later, in 2018, he was denounced by the Francisco Franco National Foundation for exposing an installation consisting of a detonation report, signed by an architect, of the Monument of the Valley of the Fallen.[65] He is also criticized by the State of Israel for the piece The Shame, where the artist installed fragments of the Berlin Wall along the West Bank Wall.[66] The same year he represented Spain at the Asia Art Biennial in Dhaka. Azcona installed wooden chairs in the Pavilion with children from the streets of Dhaka in distress. His performance was interrupted by the protests of the organization and attendees, contrary to the image that the Azcona Pavilion projected on the Biennial and the country.[67]
Artistic works
Empathy and Prostitution
Conceptual and performative artwork of critical and biographical content. Created and started in Bogota in February 2013.[68] The original work has been reactivated three times. The first time, in the Santa Fe Gallery in Bogota.[68] The second performance was at Factoría de Arte y Desarrollo, an artistic space in Madrid, in November 2013. The third performance was at the Houston International Performance Biennial, in February 2014.[69] Azcona was inspired by his mother's figure, prostitute, and sought empathising with her and with the moment of his own conception. Azcona was offered naked to the visitors of the galleries, on a bed of white sheets, so that they had exchanges of intimacy or sexual relations with him.[70] The plastic and installation result of the piece was part of the Art Is Hope charity exhibitions in Paris and Pride in New York. The first one had Azcona's work in museums such as Palais de Tokyo and the Perrotin Gallery. It was also displayed at the Piasa auction houses in Paris and at Paddle8 in New York. The American exhibition and auction promoted sexual diversity and featured artists such as Haring, Bourgeois, Goldin, Mapplethorpe, Warhol or Azcona himself.[71] In 2017, it generated exhibitions and installations in museums such as Tulla Center in the Albanian capital Tirana and the Madrid gallery, specialized in performance art, The Juan Gallery made a compilation of Azcona's trajectory focused on works of sexual themes entitled The Extinction of Desire.[72]
In the same curatorial line, with a similar artistic installation, the Queer New York Arts Festival was inaugurated in 2014 with an action by Azcona titled Someone Else, in which physical or even sexual contact with the artist was required to enter the venue of the event, at Grace Exhibition Space and at the Leslie-Lohman Museum of Art[73] in New York City. This action was chosen by critic Hrag Vartanian as one of the top ten of the year in New York City.[74] At the end of the year, 2014 and the beginning of 2015 Azcona explores in the processual work La Calle, the sexual exchange, this time in the Santa Fe neighborhood of Bogota, where he prostitutes himself in the streets. In this new work, he explores an aesthetic and corporal conversion towards his mother's figure, from hormonalization to prostitution. The process continued in the cities of Madrid and Mexico City. This performance emerges, just like the rest of his sex-themed works, as an exercise of empathy with his own biological mother, and a social critique, where the artist explores the limits of his body repeating patterns of sexual abuse, which occurred in his own childhood and in the life of his biological mother. In 2016, Azcona activated his last piece in this series, under the title La Guerra (The War), premiered at the Intramurs Festival in Valencia, Spain. Again inspired by prostitution, criticism and sexuality. On this occasion, Azcona offers his naked body, anesthetized by the use of narcotics, so that the visitor can use it freely.[75]
The Death of the Artist
Conceptual and procedural artwork through performance. Inaugurated in 2018 in the lobby of the Círculo de Bellas Artes in Madrid, as a closure and continuation of previous works in which Azcona himself had received threats, persecution or acts of violence. The artist invited by letter the organizations, groups and entities that had threatened to end his life, for which he offered as an installation a firearm and his own body exposed in the center of the museum.[76] Within the same framework, the Círculo de Bellas Artes in Madrid hosted the presentation and complete reading of The artist's presumption as a radical and disobedient subject, both in life and in death manifesto.[77] [78]
The Shame
Conceptual and performative artwork. Developed along the West Bank Wall in 2018. Abel Azcona installs original fragments of the Berlin Wall along the Israeli barrier in the West Bank built throughout Israel to separate the Palestinian lands. Azcona makes a metaphorical critique by merging both walls in the form of an installation. The actual installation, as if it were a piece of land art, remains currently along the wall, and has been exhibited in different countries through photographic and video art documentation. The work has been criticized and denounced by the State of Israel.[79]
Amen or The Pederasty
Conceptual and procedural artwork of biographical content baptized as Amen by Azcona himself, but better known as The Pederasty (“La pederastia” in Spanish). In a performance of several months, Azcona attends Eucharist in churches and parishes linked to his own childhood, since Azcona received a Catholic education from the age of seven, at which age he was adopted. In the churches, the artist keeps the wafer or consecrated host delivered to the attendees in the communion. He gathered two hundred and forty-two wafers or consecrated hosts, corresponding to the number of cases of pederasty reported in the north of Spain in the last decade, with which he forms an organic installation in which the word Pederasty could be read. The installation opened in an art gallery in the center of Madrid in the summer of 2015.[80]
At the end of 2015, a fragment of the work was selected to be part of the retrospective exhibition that the city of Pamplona dedicated to him inside the Monument to the Fallen in the Spanish Civil War. The work is located on the altar of the old monument, which was formerly the cathedral of Pamplona, but at the time of Azconas' show, it was desacralized. Along with Amen other critical works about child abuse such as The Shadow were displayed. In The Shadow, he denounced cases of child abuse in a piece in which the survivors are the protagonists. In The Shadow, Azcona presented more than two hundred real cases of pedophilia in diverse museums and galleries of different cities in Spain. In each show, Azcona performed live each of the experiences of the survivors sitting in an installation consisting of a wooden swing, which was also installed inside the Monument to the Fallen of Pamplona.[80]
The day after the inauguration of the exhibition, multiple demonstrations, concentrations and acts in favor of its closing arose.[citation needed] It was defined by the Catholic Church on numerous occasions as the greatest offense to Christian belief.[citation needed] Azcona documents all manifestations and situations of confrontation and includes them in the exhibitions of the work, understanding the work as process art. Azcona has endured more than five years of judicial proceedings for complaints about the work before different courts and judicial entities.[81]
The artwork has been exhibited in various museums in Berga, Mallorca, Murcia, Madrid or Lleida.[82] The latest exhibitions was presented by art collector Tatxo Benet.[83]
Eating a Koran
Conceptual and process artwork. Created in Berlin in October 2012, within the exhibition space of The College of Performing Arts at the University of the Arts in Berlin. Azcona inaugurated a series of works of a performative nature, all of them of critical content with religious entities. In the pieces, Azcona intervened plastically and performatively representative icons of each religion, such as the Koran, the Bible, the Torah or other objects of sacred character. In one of them, Azcona performs a nine-hour piece in which he ingests the pages of a copy of the Koran. It was the most controversial and the one that obtained the most repercussion from the series, being the artist threatened and persecuted for the work.[84] The work was inaugurated again in Copenhagen, in the Krudttønden museum where Azcona founded an art collective together with other artists such as Lars Vilks and Bjørn Nørgaard, persecuted and threatened by their creations. With the collective, and as a result of the threats for the work Eating a Koran, Azcona carried out performances and conferences for freedom of speech in the Danish museum between 2013 and 2015. With Vilks, Nørgaard, the writer Salman Rushdie or the cartoonist Charb, killed in the attack on Charlie Hebdo. Until in 2015 the Krudttønden building was shot and four participants of the event were killed by the Copenhagen terrorist attack. Since then, the work Eating a Koran, bought and donated by a Danish collector, remains in the museum.[85]
The Fathers
Conceptual and process artwork. Generated starting with a performance in 2016 in Madrid and closed in 2017 in the same city in an exhibition format. The durational piece was initiated with a participatory installation in which dozens of women survivors of prostitution exchanged live the physical description of their last prostitution client. On the other side of a ten-meter-long table, experts in facial composites listened to them. The performance generated dozens of portraits which, at the closing of the piece in 2017, were exhibited with the premise that any of them could be Azcona's father, or of the visitors. The biographical work creates a critical discourse with prostitution and its inheritance, and in the case of Azcona himself, of an unknown father, having been gestated in a sexual exchange of prostitution.
Abel Azcona, the son of a prostituted woman who is looking for his whoremonger father, because it perfectly summarizes everything that the patriarchy has built on their subordination and for our autonomy. Abel represents the aching son of an unknown father. All of us are those men who walk on their backs. To those who do not see their faces until the end. Those parents who sign unwritten covenants and who leave their semen springs across the planet. Those who rent vaginas, wombs and maids. It is urgent to face those who prefer to remain installed in comfort. Only in this way will it be possible to turn our face towards the camera, without fear of being recognized in a robot portrait of a whoremonger father. Without fear of the mirror returning the image of a monster.
— Octavio Salazar Benítez, El País 2019[86]
Political Disorder
Conceptual and installation artwork. In this performative process Azcona becomes part of different institutions and political parties.[87] The multi-year project concludes in an installation at the Andrés-Missirlian Space Museum in Romainmôtier, Switzerland in 2017.[88] The installation was made up of dozens of original documents of affiliation to dozens of political parties in Spain, membership cards or documentation of fees and payments. The piece, where Azcona joins all Spanish political parties, is born as a critique of the system that prioritizes economic interest over true ideology.[89] Azcona joined organizations such as Falange Española, Vox, Spanish Socialist Workers' Party, Popular Party, and also became a member of entities with a political connotation such as the extreme right-wing organization Hazte Oír, the Francisco Franco National Foundation, the spanish nazi organization Hogar Social or Christian Lawyers.[87] Two years later, Azcona again exposes the documentary installation adhering the expulsion letters of each of the political parties and organizations.[90]
Buried
Conceptual and process artwork of critical and social content. In 2015, through a public and participatory performance or happening on the esplanade of the Monument to the Fallen, built by Francisco Franco in Pamplona.[91] Azcona invited dozens of relatives of those who were shot, persecuted and disappeared during the Spanish Civil War. Descendants of victims, part of the Republican side, make up the installation in a row in front of the monument, all symbolically buried with soil from the garden of one of the participants, where his relatives were shot.[92] In 2016, Azcona is invited by the city of Pamplona to show his work inside the Monument to the Fallen, and the project, made on the outside the year before, enters the Monument, converted into an exhibition hall, under the name of Unearthed: A retrospective view on the political and subversive work of the artist Abel Azcona.[93] The exhibition brings together the Buried project and fragments of all of Azcona's works.[94]
There are symbols that cannot be covered. The Monument to the Fallen of Pamplona is a clear example. Fighting this symbol with another is what Navarrese artist Abel Azcona has proposed, known for his performance, sometimes controversial and often linked to the body. In this case, Azcona does not propose this new artistic exhibition as a war between symbols, but as an invitation to arouse feelings and, also, as a claim. For him, it is about inciting memory, individual and collective (and, therefore, historical).
— Association for the Recovery of Historical Memory[95]
In 2016, Azcona coordinates a new performative action or happening with relatives of those shot in the Pozos de Caudé.[96] Under the name of Desafectos, Azcona builds a wall with the relatives in a procedural way as a complaint, next to the wells outside the city of Teruel,[97] where more than a thousand people were shot and thrown in just three days.
The Nine Confinements or The Deprivation of Liberty
Conceptual and procedural artwork of biographical content. Sequence of performance carried out between 2013 and 2016. All of them with the common nexus of deprivation of liberty. In 2013 Azcona made the first performances under the name Confinement in Search of Identity.[98] In the first confinement the artist had to remain sixty days, in a space built inside an art gallery of Madrid, with scarce food resources and in total darkness. The confinement was interrupted at forty-two days for health reasons.[99] Azcona creates these works as reflection and discursive interruption of his own mental illness.[100] The disease is one of the recurring themes in Azcona's work.[101]
Another of the confinements lasted nine days in the framework of the Lyon Biennale, where Abel Azcona remained uninterrupted inside a garbage container strategically located in the center of the Biennial, as a criticism of the artist's own gestation and the market of contemporary art itself.[102] One of the last performative projects with the deprivation of liberty as a curatorial style was Black Hole in 2015, where Azcona once again remained locked in a small space without light and poor food in the same central art gallery in Madrid. On this occasion different unknown guests shared the confinement with the artist, Azcona being unaware of their origin and without the possibility of being seen.[103] The visitors of the art gallery could know the process daily according to the sensations of the visitors when entering and leaving the confinement space next to the artist. All projects were curated and documented from the point of view of the deprivation of liberty and the deprivation of food, water, electricity or contact with the outside.[104]
Exhibitions (Selection)
Year | Title | Institution | Location |
---|---|---|---|
2019 | The duty of recidivism of the artist in the framework of assumption of disobedience as positioning[105] | Art Space de Arte L´Eléctrica | Palma de Mallorca, Spain |
2019 | The duty of recidivism of the artist in the framework of assumption of disobedience as positioning[106] | Art Space Incógnita | Murcia, Spain |
2019 | The First Step[107] | Exhibition Space of Sant Fruitós | S. Fruitós del Bages, Spain |
2019 | Politic Bodies [108] | Bogotá Museum of Modern Art | Bogotá, Colombia |
2018 | Círculo de Bellas Artes de Madrid | Madrid, Spain | |
2018 | Memoirs of an Abandonment: A Retrospective View of Abel Azcona's Biographical Work 1988–2018.[109] | Alliance Française Manizales | Manizales, Colombia |
2018 | Buried[110][111] | Centro Cultural de España Montevideo | Montevideo, Uruguay |
2018 | Buried[111] | Centro Cultural de España Santo Domingo | Santo Domingo, Dominican Republic |
2018 | Abel Azcona: Intimate and Personal[112] | Sala de Exposiciones de Sant Fruitós | S. Fruitós del Bages, Spain |
2017 | The Extinction of Desire [113][68] | La Juan Gallery | Madrid, Spain |
2017 | Political (dis)order [88] | Espace dAM Romaimôtier | Romainmôtier, Switzerland |
2017 | Buried [111] | Centro Cultural Juan de Salazar de Asunción | Asunción, Paraguay |
2017 | Buried [111] | Centro Cultural de España en Tegucigalpa | Tegucigalpa, Honduras |
2017 | Week Rental[68] | Astro Inn de Houston | Houston, US |
2017 | The War[68] | Espacio Arte The Secret Group | Houston, US |
2017 | Empathy and Prostitution[68] | Tulla Culture Center | Tirana, Albania |
2017 | The Line of your Back: Selection of Art Works around Sexuality.[114] | MUSEARI, Museu de l´Imaginari | Valencia, Spain |
2016 | La Guerra[68] | Víbora, Intramurs | Valencia, Spain |
2016 | Buried [111] | Sala Amadis Instituto de la Juventud | Madrid, Spain |
2016 | The Bodies[115] | Hell Gallery | Barcelona, Spain |
2016 | Il Sacrificio[116] | Centro Cultural Cantieri | Palermo, Italy |
2016 | The Hours[117] | Rossmut Gallery | Rome, Italy |
2016 | The Street[118][119] | Palacio de Aramburu | Tolosa, Spain |
2016 | Desenterrados: Una visión retrospectiva en torno a la obra política y subversiva del artista [111] | Sala Exposiciones Monumento a los Caídos | Pamplona, Spain |
2015 | The Street[119] | Galería Liebre | Madrid, Spain |
2015 | Buried [111] | Plaza de la Libertad | Pamplona, Spain |
2015 | Empathy and Prostitution [68] | Arco Art Fair | Madrid, Spain |
2014 | Someone Else[68] | Grace Exhibition Space | New York, US |
2014 | Empatía y Prostitución[68][119] | Box 13 | Houston, US |
2013 | Empathy and Prostitution[68][119] | Factoría de Arte y Desarrollo | Madrid, Spain |
2013 | Empathy and Prostitution[68][119] | Galería Santa Fé | Bogotá, Spain |
2013 | Diálogos en Acción [120] | Museum of Contemporary Art of Bogota | Bogota, Colombia |
2012 | Eating a Koran [121] | University of Arts of Berlin | Berlin, Germany |
2012 | Small Fish [122] | Orizuru Gallery | Pamplona, Spain |
Literary work
- Winter Solstice [Compilation of performative work]. Stolon. 2014. ISBN 978-1938022715.
- Not Wanted [Catalog on the occasion of Retrospective Exhibition]. Museo de Arte Contemporáneo de Bogotá. 2014. ISSN 1909-3543.
- The Moving Heaven [Political Essay]. Dos Bigotes. 2015. ISBN 978-8494967443.
- The Hours [Compilation of performative work. Biographical Stories]. Maretti. 2016. ISBN 978-8898855490.
- Contemporary Art Essays [Ensayo]. Plataforma de Arte Contemporáneo. 2017. ISBN 978-8494232190.
- Curatorships. Contemporary Visions. [Recopilación obra en colecciones]. Museo de Arte Contemporáneo de Bogotá. 2017. ISBN 978-958-763-198-2.
- Manifiest [Political Essay]. Con-Tensión Editorial. 2018.
- Presumption of the artist as a radical and disobedient subject, both in life and death [Manifiesto]. Círculo de Bellas Artes. 2018.
- Liberty of exception [Political Essay]. Pages Editors. 2018. ISBN 978-8413030135.
- Theory of Performance Art. Roca Umbert Museum. 2018.
- Practice of Performance Art. Roca Umbert Museum. 2018.
- Abel Azcona 1988-2018 [Antología]. Prólogo de Tania Bruguera y Pussy riot. MueveTuLengua. 2019. ISBN 978-8417284527.
- Abel Azcona, art, action & rebellion [Recopilación obra performativa]. Sant Fruitós de Bages. 2019. ISBN 978-8409100040.
- The Little Buds [Biographical Stories]. Dos Bigotes. 2019. ISBN 9788494967443.
- Act of disobedience [Political Essay]. Milenio. 2019. ISBN 978-8497438643.
Cinematographic work
- The Stoning (2011). Directed by Abel Azcona. Video art piece generated from the performance The Stoning, documentation of the art work developed in the historic center of Pamplona.[123]
- Empathy and Prostitution (2013). Directed by Abel Azcona. Video art piece generated from the Empathy and Prostitution performance, developed in Houston by Abel Azcona.[124]
- Antibasque (2014). Directed by Karlos Alastruey. Documentary about the Basque conflict designed following Abel Azcona's performance in Basque lands.[125]
- The Miracle (2015). Directed by Abel Azcona. Video art piece generated from the performance The Miracle, documentation of the art work developed in different Mediterranean Beaches. [126]
- Abel Azcona: Born In Darkness (2016). Directed by Karlos Alastruey. Documentary about life and artwork of Abel Azcona. [127]
- A day in the life of Abel Azcona (2016). Documentary about one day in the life of the artist Abel Azcona. [128]
- Still Life (2017). Directed by Abel Azcona. Video art piece generated from the Still Life Art Project, developed in Roca Umbert Museum by Abel Azcona.[129]
- The Fathers (2017). Directed by Abel Azcona. Video Art Piece generated from the artwork The Fathers, documentation of the performance art developed in a art gallery in Madrid.[130]
- In Harm´s Way (2017). Directed by Abel Azcona. Video art piece directed by Abel Azcona for music video of the singer Amanda Palmer on the drama of the refugees in the Mediterranean Sea. [131]
- The Shame (2018). Directed by Abel Azcona. Videoart piece generated from The Shame performance, generated along the West Bank Wall. [132]
- You will be a man (2018). Directed by Isabel de Ocampo. Documentary about new masculinities and the search for origins of Abel Azcona. [133]
- Abel Azcona: Creadorxs (2018). Directed by Neurads for El País. Documentary chapter about life and artwork of Abel Azcona. [134]
- Abel Azcona: Mónica and the sex (2019). Directed by Cuatro TV Mediaset Spain. Documentary Chapter about the sex in the artwork of Abel Azcona. [135]
- The First Step (2019). Directed by White Cat Studio. Documentary Film about life and artwork of Abel Azcona in Barcelona. [136]
Bibliography
- Salanova, Marisol (2014). Buried (in Spanish). Micromegas. ISBN 978-8494054549.
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(help) - Huerta, Ricard (2019). Elementary Art. Pedagogías Contemporáneas - UOC. ISBN 978-8491805526.
- Peñuela, Jorge (2017). Anarchaegraphy of artistic thought (in Spanish). UD Creaciones. ISBN 978-9585434172.
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(help) - Hernando Collazos, Isabel (2014). "Aproximación del derecho de autor al arte performativo.". RIIPAC, Patrimonio cultural. ISSN 2255-1565.
- Group FIDEX, Figures of excess and body policies (2018). Technical-conceptual atlas of the Fidex research group: Micropolitics in contemporary research in Fine Arts (in Spanish). Universitas Miguel Hernández. ISBN 978-8416024711.
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(help) - Moya Gómez, Carlos (2016). A vision of gender through performance in today's Spain (PDF) (in Spanish). Universitat Pompeu Fabra.
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(help) - Silva Gómez, Norma Ángelica (2018). Abel Azcona: Of empathy as (im) possibility (PDF) (in Spanish). Colegio de Saberes de México.
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(help) - Muñoz Clemente, Carolina (2016). El arte contemporáneo para la comprensión crítica del Centro Comercial (PDF) (in Spanish). University Complutense of Madrid.
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(help) - López Landabaso, Patricia (2017). La performance como medio de expresión artística. Expresiones actuales en el País Vasco (PDF) (in Spanish). Universidad del País Vasco.
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(help) - Cano Martínez, Maria Jesús (2018). Escondido tras la piel: representaciones y afrontamientos del dolor y el sufrimiento desde el arte de acción (in Spanish). Universidad de Granada. ISBN 9788491639541.
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(help) - Molina Ruiz, Irene (2016). El autorretrato como canalizador del dolor (in Spanish). University of Granada. ISBN 9788491258148.
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Notes and references
Notes
- ^ Also named Abel Luján Gutiérrez, Abel David Lebrijo González, Abel David Azcona Marcos, David Azcona Marcos or Abel David Azcona Ema. Azcona's biological mother decided on Abel's name and when registering him at the Montesa Clinic as her own, he was first called Abel Luján Gutiérrez, her last name. The child was not registered in the Civil Registry until he was four years of age and, upon the abandonment of the mother, her partner took care of the child and registered him as Abel David Lebrijo González, his surname despite him not being his biological father. These being the first surname that appear in the legal document. From then on, in different records and documents such as schooling, they change the second last name to Raposo, from his new partner. At the age of six the adoption procedures began and at age seven he became known as Abel David Azcona Ema, taking on the surname of his adoptive mother. The adoptive family refused to use Abel's name since his adoption because it implied a connection to the biological mother, who chose the name. At fifteen years of age, Azcona was adopted by the new husband of his adoptive mother, so he becomes Abel David Marcos Azcona and, after a family process approved to invert the surnames, Azcona returns to the first name and he's definitely Abel David Azcona Marcos. At the age of twenty he decided to remove the name “David”, having no relationship with his adoptive family and using Abel again, as a tribute to his biological mother and as a response to the prohibition and imposition of the other name. Los pequeños brotes (2019), Serás Hombre (2018) y the birth certificate published in Abel Azcona: 1988-2018 (2019).
- ^ In numerous encyclopedic resources, Abel Azcona appears as born in Pamplona and is considered Navarrese. This is because he was born in Madrid accidentally and since he was a few days old he lived in Pamplona.
References
- ^ Contemporay Art Museum, Bogotá (2013). "Political Bodies – Abel Azcona". Google Arts & Culture. Retrieved December 25, 2019.
- ^ López Landabaso 2017, p. 379.
- ^ García García, Óscar (April 25, 2016). "Las últimas horas de Abel Azcona". Plataforma de Arte Contemporáneo. Retrieved December 11, 2019.
- ^ Makma, Revista de Artes Visuales y Cultura Contemporánea (August 7, 2014). "Abel Azcona inaugura Donostiartean". Makma Revista de Artes Visuales y Cultura Contemporánea. Retrieved December 11, 2019.
- ^ Europa, Press (December 17, 2013). "El Gallery Weekend Santander se despide este sábado en Enclave Pronillo". Europa Press. Retrieved December 11, 2019.
- ^ Corroto, Paula (June 16, 2019). "The 'enfant terrible' of Spanish contemporary art Abel Azcona: "I feel more a son of a prostitute or a mentally ill person than an artist"". El Confidencial. Retrieved January 9, 2020.
- ^ a b Criado Santos, Brezo (June 28, 2019). "Abel Azcona: "España es un país de tabúes"". Cadena Ser (in Spanish). España. Retrieved November 3, 2019.
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- ^ Fragozo Caro, Jesús (November 10, 2014). "The adventures of Abel Azcona". El Espectador. Retrieved January 9, 2020.
- ^ Davenport, Bill (February 26, 2014). "Lone Star Performance Explosion: Some of Night 2". Glasstire Texas Visual Art. Retrieved January 9, 2020.
- ^ SCAN (September 20, 2014). "Someone Else by Abel Azcona in New York". Scan Spanish Contemporary Art Network. Retrieved January 9, 2020.
- ^ Muñoz Clemente 2016, p. 266.
- ^ García García, Oscar (October 30, 2014). "Retrospective of Abel Azcona in the Contemporary Art Museum". Contemporary Art Platform. Retrieved January 8, 2020.
- ^ Contemporary Art Museum, Bogota. "Abel Azcona - No Deseado". Contemporary Art Museum of Bogota. Retrieved January 8, 2020.
- ^ a b Cano Martínez 2018, pp. 130–140.
- ^ a b c Lapidario, Josep (September 2015). "Abel Azcona: "Un artista cómodo no me vale, no es contemporáneo, no es nada"". Jotdown (in Spanish). España. Retrieved September 25, 2019.
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(help) - ^ a b Oliveira, Ana (October 13, 2012). "Abel Azcona, arte en acción". Noticias de Navarra. Retrieved December 11, 2019.
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(help) - ^ Silva Gómez 2018.
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- ^ Bueloha, Carmen. "Intimacy with Abel Azcona". Inquieta mental.
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- ^ Davenport, Bill (February 26, 2014). "Lone Star Performance Explosion: Some of Night 2". Glasstire Texas Visual Art. Retrieved January 14, 2020.
- ^ Nichols, James Michael (December 22, 2017). "Heroic Artist Gets 'Make America Great Again' Tattooed Around His Anus". HuffPost. Retrieved January 14, 2020.
- ^ Otazu, Amaia (October 8, 2019). "Abel Azcona's exhibition with consecrated hosts arrives in Strasbourg". El Diario. Retrieved January 14, 2020.
- ^ Europa, Press (November 24, 2015). "The Archbishopric of Pamplona-Tudela mobilizes against the exhibition of Abel Azcona". Europa Press. Retrieved December 24, 2019.
- ^ a b Dani Domínguez (June 26, 2018). "Abel Azcona: "I prefer artists in prisons than silent artists in their studio"". La Marea. Retrieved September 22, 2018.
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- ^ M.B. (December 21, 2018). "Abel Azcona charged again for using consecrated hosts for a performance". El Español.
- ^ "La Audiencia de Navarra confirma el archivo de la causa contra la exposición blasfema de Abel Azcona". ABC. May 5, 2017. Retrieved December 24, 2019.
- ^ EFE (May 7, 2017). "Archivado el caso contra el artista Abel Azcona por utilizar hostias en una obra". Público. Retrieved December 24, 2019.
- ^ Redacción (October 8, 2019). "Estrasburgo admite una querella contra España por la exposición de Azcona". Eitb Euskal Telebista. Retrieved December 24, 2019.
- ^ a b Redacción (August 8, 2019). "Strasbourg handles the demand for Christian Lawyers for the exhibition of Abel Azcona with consecrated forms". La Vanguardia. Retrieved December 24, 2019.
- ^ a b Group FIDEX 2018, p. 96.
- ^ H. Riaño, Peio (February 5, 2019). "The artist Abel Azcona plants the judge who investigates him for writing "pederasty" with consecrated hosts". El País. Retrieved December 24, 2019.
- ^ Eitb Cultura (February 5, 2019). "Abel Azcona does not attend a judicial summons in Barcelona and declares himself disobedient". Eitb Euskal Telebista. Retrieved December 24, 2019.
- ^ La Sexta (May 10, 2019). "The exile of the artist Abel Azcona in Portugal". La Sexta. Retrieved December 24, 2019.
- ^ Redacción (May 7, 2019). "L'artista Abel Azcona s'exilia a Portugal per la persecució judicial de la seva obra". VilaWeb. Retrieved December 24, 2019.
- ^ Mopez, Victor (July 29, 2019). "Abel Azcona: "Si Franco despertara mañana, estaría contento de cómo está España"". Los Replicantes (in Spanish). España. Retrieved September 26, 2019.
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(help) - ^ Group FIDEX 2018.
- ^ de Cárdena, Nicolás (October 8, 2019). "El montaje con hostias consagradas de Abel Azcona llega al Tribunal Europeo de Derechos Humanos". Actual (in Spanish). España. Retrieved November 10, 2019.
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(help) - ^ Martín, Cristina (November 16, 2016). "El profanador Abel Azcona absuelto: el sacrilegio saldrá barato". Hispanidad (in Spanish). España. Retrieved November 10, 2019.
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(help) - ^ Redacción (December 20, 2016). "Abel Azcona, from desecration to humiliation of victims of terrorism". Infovaticana. Retrieved December 24, 2019.
- ^ Tecé, Gerardo (February 20, 2016). "Pussies, anti-system and half lies". Contexto CTX. Retrieved December 24, 2019.
- ^ "Instal·lacions vives a l'exposició "Naturaleza muerta" d'Abel Azcona". rocaumbert.com (in Catalan). Retrieved December 26, 2019.
- ^ Cultura Granollers (April 10, 2017). "The Life Art, about the death from Abel Azcona". Cultura Granollers. Retrieved December 24, 2019.
- ^ Vallés, Elena (June 22, 2019). "Abel Azcona: "I prefer artists in prisons than comfortable creators in their studios"". Diario de Mallorca. Retrieved January 14, 2020.
- ^ a b Zas Marcos, Mónica (October 18, 2018). "Abel Azcona offers a gun to those who fantasize about killing him in his latest performance". El Diario. Retrieved January 14, 2020.
- ^ Daily, Sun (September 7, 2018). "Performance Art Mesmerises Audience At 18th Asian Art Biennale". Daily Sun. Retrieved January 9, 2020.
- ^ a b c d e f g h i j k l Peñuela 2017, p. 72.
- ^ Raggi, Adriana. "Abel Azcona: Empathy and Prostitution". Las Disidentes.
- ^ G. Maldonado, Lorena (March 3, 2019). "Abel Azcona: "Sexuality beats in my work always from the critical spirit"". El Español. Retrieved January 12, 2018.
- ^ "Pride - Exhibition & Auction". Paddle 8. Retrieved January 12, 2019.
- ^ Recuero, Ricardo (November 13, 2017). "The Extinction of Desire". Contemporary Art Platform. Retrieved January 12, 2020.
- ^ Spanish Contemporary Art Network. "Someone Else- Abel Azcona in New York". Spanish Contemporary Art Network.
- ^ Vartanian, Hrag (December 23, 2014). "Best of 2014: Our Top 10 Brooklyn Art Shows". Hyperallergic. Retrieved January 12, 2020.
- ^ Sahuquillo, Paula (November 2, 2016). "We went to see how people abused Abel Azcona's drugged body". Vice. Retrieved January 12, 2020.
- ^ Zas Marcos, Mónica (October 18, 2018). "Abel Azcona offers a gun to those who fantasize about killing him in his latest performance". El Diario.es. Retrieved January 8, 2019.
- ^ La Fábrica. "Eñe Festival celebrates ten years of commitment to literature". La Fábrica.
- ^ De Las Heras Bretin, Ruth (October 20, 2018). "The artist in the gallows". El País. Retrieved January 12, 2020.
- ^ Zas Marcos, Mónica (October 18, 2018). "Abel Azcona offers a gun to those who fantasize about killing him in his latest performance". El Diario.es. Retrieved January 8, 2019.
- ^ a b Talegón, Beatriz (November 25, 2019). "Abel Azcona: "Call me" son of a bitch "I think it's beautiful". Diario 16. Retrieved January 14, 2020.
- ^ "They again investigate Abel Azcona for drawing with hosts the word 'pederasty'". El Diario. No. December 21, 2018. Retrieved January 14, 2020.
- ^ Rodriguez Oroz, Amaia (December 17, 2019). "'Amen', by Abel Azcona, will be exhibited in Barcelona in June next year". Noticias de Navarra. Retrieved January 14, 2020.
- ^ Peleo, Lidia (January 10, 2020). ""Censored", an art collection to defend freedom of speech". Público. Retrieved January 14, 2020.
- ^ García García, Oscar (January 19, 2013). "Abel Azcona threatened for his work Eating a Koran". Contemporary Art Platform. Retrieved January 15, 2020.
- ^ Snaphanen. "Abel Azcona: Eating a Qran in Copenhagen". Snaphanen.
- ^ Salazar, Octavio. "The Future is called Abel". El Pais.
- ^ a b H.Riaño, Peio (October 12, 2017). "Abel Azcona: "I have joined 42 political parties"". El Español. Retrieved January 14, 2020.
- ^ a b Espace, dAM. "Abel Azcona – Political (dis)order". Espace dAM.
- ^ Brezo Criado, Santos (June 28, 2019). "Abel Azcona: "Spain is a country of taboos"". La Ser. Retrieved January 14, 2019.
- ^ Romo, José Luis (November 10, 2017). "Abel Azcona: "There is nothing more sexual than the political"". El Mundo. Retrieved January 14, 2019.
- ^ EFE Agency (May 1, 2015). "Abel Azcona symbolically buries relatives of shot in a performance". EFE Agency. Retrieved January 15, 2020.
- ^ Europa Press (January 18, 2016). "The exhibition of Abel Azcona, the most seen in the old Monument of the Fallen". 20 minutos. Retrieved January 15, 2020.
- ^ Esparza, José Javier (November 20, 2015). "Abel Azcona shows 'Unearthed'". Diario de Navarra. Retrieved January 15, 2020.
- ^ "Abel Azcona unearths much of his work at the War Memorial". Navarra News. November 21, 2015. Retrieved January 15, 2020.
- ^ Association for historical memory. "Symbols that cannot be buried". Association for the recovery of historical memory.
- ^ Ballester, Irene. "Against oblivion and silence". Makma Visual Art Magazine.
- ^ Europa Press (May 9, 2016). "Teruel hosts the exhibition 'Where the silences germinate', which reflects on memory and impunity". 20 minutos. Retrieved January 14, 2020.
- ^ García García, Oscar (July 12, 2013). "The artist Abel Azcona will remain locked up for sixty days without light". Contemporary Art Platform. Retrieved January 14, 2020.
- ^ Guisado, Paula (August 17, 2013). "An artist ends up in the hospital after 42 days emulating life in a placenta". El Mundo. Retrieved January 14, 2020.
- ^ Hernando, Silvia (August 17, 2013). "From the artistic confinement to the hospital". Infolibre. Retrieved January 14, 2020.
- ^ Corroto, Paula (June 16, 2019). "Abel Azcona: "I feel more a prostitute's son or mentally ill than an artist"". El Confidencial. Retrieved January 14, 2020.
- ^ García García, Oscar (September 12, 2013). "Abel Azcona is locked up again, this time at the Gallery Des Pentes de Lyon". Contemporary Art Platform. Retrieved January 14, 2020.
- ^ Factory of Art. "Black Hole". Factory of Art.
- ^ Lapidario, Josep (2015). "Abel Azcona: A comfortable artist is not worth it, it is not contemporary it is nothing". Jot Down. Retrieved January 14, 2020.
- ^ Vallés, Elena (June 22, 2019). "Abel Azcona: "I prefer artists in prisons than comfortable creators in their studios"". Diary of Mallorca. Retrieved January 8, 2019.
- ^ Madrid, Manuel (June 13, 2019). "Azcona: "If they arrest me I will assume; I will continue with my disobedience as a political prisoner »". La Verdad Murcia. Retrieved January 8, 2020.
- ^ Catalan, Press Agency (February 22, 2019). "Abel Azcona criticizes the lack of human rights in a new exhibition in Sant Fruitós". Regió 7. Retrieved January 8, 2019.
- ^ Google Arts & Culture. "Political Bodies". Google Arts & Culture. Retrieved January 8, 2019.
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has generic name (help) - ^ Alliance, Française. "Exhibition Memories of a Abandonment". Retrieved January 8, 2019.
- ^ Souza, Rosalía (June 10, 2018). "Art and power of the disobedient". TV Show Uruguay. Retrieved January 9, 2020.
- ^ a b c d e f g Salanova 2014, p. 120.
- ^ "Opened the exhibition "Intimate and personal" by Abel Azcona". Montpeitá. October 17, 2018. Retrieved January 9, 2020.
- ^ Recuero, Ricardo (November 13, 2017). "Abel Azcona: The Extinction of Diste". Contemporary Art Platform. Retrieved January 9, 2020.
- ^ Valencia, Universitat. "Inauguration of the Retrospective of Abel Azcona with a conference in the Valencia University". University of Valencia. Retrieved January 20, 2019.
- ^ "Skin and Reflexion: Hell Gallery presents The Bodies by Abel Azcona". Lamonomagazine.
- ^ "Il Sacrificio: Performance art with emotional charge by Abel Azcona". Balarm.
- ^ Art, Tribune. "Abel Azcona - Las Horas - Roma, 2015". Arttribune.
- ^ Seisdedos, Ania (April 17, 2016). "Abel Azcona (Contemporary artist): «I don't want my art to be beautiful, but to transform the viewer»". El Diario Vasco. Retrieved January 9, 2020.
- ^ a b c d e Moya Gómez 2016, p. 28.
- ^ Contemporary Art Museum, Bogota. "Action dialogues with Abel Azcona". Contemporary Art Museum of Bogota.
- ^ García García, Oscar (January 19, 2013). "51/5000 Abel Azcona threatened by his work eating Koran". Contemporary Art Platform. Retrieved January 10, 2020.
- ^ "Small Fish by Abel Azcona". Cargo Collective.
- ^ Sesé, Teresa (May 6, 2017). "The next photography". La Vanguardia / Press Reader. Retrieved January 9, 2020.
- ^ Estrella, Digital (April 21, 2014). "Empathy and Prostitution by Abel Azcona". Estrella Digital. Retrieved January 9, 2019.
- ^ EFE, Agency (May 8, 2017). ""AntiBasque", by Alastruey, best experimental film at the LA Film Awards". La Vanguardia. Retrieved January 9, 2020.
- ^ Escudero, Sergi (2016). "Abel Azcona : "For me the artistic facet goes before the staff"". Negra Tinta. Retrieved January 9, 2020.
- ^ IMDB. "Abel Azcona: Born in Darkness". IMBD. IMDB.
- ^ Hoy es Arte (2016). "A day in the life of the artist Abel Azcona". Hoy Es Arte. Retrieved January 9, 2020.
- ^ Culture (April 6, 2017). "Abel Azcona's 'Still Life', in the Arts Space". Som Granollers. Retrieved January 9, 2020.
- ^ Azcona, Abel. "The Fathers of Abel Azcona".
- ^ Adams, Tori (October 30, 2017). "Amanda Palmer Asks If We've Forgotten How To Be Generous in New Video for "In Harm's Way"". NXDWN. Retrieved January 9, 2020.
- ^ Azcona, Abel. "The Shame of Abel Azcona".
- ^ Ceballos, Noel (June 23, 2019). "'You will be a man', the documentary that dissects a masculinity in crisis". GQ Magazine. Retrieved January 9, 2020.
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- ^ Cuatro.com (October 26, 2019). "Mónica Naranjo responds to the provocative proposal of the artist Abel Azcona with loving caresses in bed". Cuatro TV Mediaset Spain. Retrieved January 9, 2020.
- ^ Sant Fruitos, City Hall. "Presentation of the book "Arte, Acción y rebeldía" and screening of the documentary "El primer pas" by Abel Azcona". Sant Fruitos City Hall.
External links
- Official Site
- Abel Azcona at IMDb
- Interview with Azcona Juan Carlos Monedero's En la frontera TV Program, Público TV, June 17, 2019.
- Interview to Azcona, CENDEAC Center for Documentation and Advanced Art and Contemporary Studies.
- Documentary A day in the life of the artist Abel Azcona on the page Hoy es Arte.
- Alone with Abel Azcona Interview with artist Abel Azcona by Julian Iantzi, Navarra TV. November 27, 2015.
- Documentary Creadorxs with full report of life and work to the artist Abel Azcona, El País, 2018.