La sociedad de consumo ha penetrado en nuestra forma de ser, de estar y de relacionarnos con nuestros cuerpos, propios y ajenos. ¿Acaso este sistema ha modificado la vinculación que poseemos con nuestro propio cuerpo? ¿Qué papel ha asumido el cuerpo en los últimos tiempos? ¿Cómo observamos e interactuamos con los otros cuerpos?
Estas son algunas de las preguntas que plantea Cuerpos en Observación, una pieza performativa que tiene como fin aunar dos disciplinas a priori inconexas: el arte y la investigación psicosociológica; con el objetivo de conformar una performance en directo sobre el seno del estudio de la interacción entre la audiencia y el cuerpo del artista.
Este proyecto artístico/científico ha sido creado a través de la colaboración entre Miguel Andrés, performer y artista visual, y Elena Vázquez Gomis, psicóloga del Máster de Psicología Social de la Universidad Complutense de Madrid, con el propósito de trasladar la investigación sociológica de la academia al espacio artístico para que pueda llegar al gran público.
Con esta performance/estudio exploraremos las formas de interacción con el desnudo para descubrir el lugar que ocupa el cuerpo en el contexto actual. Para llevar a cabo esta acción performativa precisamos de la inestimable participación del público, cuyo papel es imprescindible para la construcción de la obra.
Buscamos a personas interesadas en vivir en primera persona la experiencia de la corporeidad, ofreciendo una vivencia única al espectador al invitarle a formar parte de manera activa en esta performance/estudio sociológico.
Te esperamos el sábado 26 de marzo de 17h a 21h en el CC Las Cigarreras, calle San Carlos, 78, Alicante.
GRATUITO. Entrada libre sin inscripción. Entrada libre prioritaria con reserva horaria en https://miguelandres.com/cuerposenobservacion/

Coming soon / Próximamente

The other pandemic has been going on for 40 years, has infected 78 million people and claimed 39 million lives. We no longer talk about the other pandemic, there is only a distorted memory of the 90s.
The other pandemic, that of HIV, continues to kill people in developing countries, even though there is an effective battery of drugs that controls the disease. In developed countries, those infected do not die, they lead “normal” lives, but invisible.

Six Colors of Separation is a performative experiment that investigates the oppression exerted on LGTBIQ+ people, in its different degrees, by societies, institutions and the collusion between them.

Gone are the affection, the care, the empathy and the feeling of oppressed community. Today, being a Cisgendered man who has sex with equals (MSM) means being immersed in a way of life that revolves around sex. The collective is hypersexualised and it is difficult to escape this dynamic. Our value as individuals and our self-esteem is measured by the number of sexual conquests we maintain.

Action to denounce the homophobic attacks that are increasingly occurring in Spain.

Our obsession with time has been known for centuries. Time is measured, fractioned and standardized to synchronize humanity. Gadgets of all kinds have arisen to carry out this task. From the rudimentary sundial to the atomic pointer clock, through sand, rope and quartz.

“Return to Multiverso” se trata de una nueva versión de “Multiverso”, una acción anterior de la artista Marta Pinilla. En “Multiverso”, los performers acababan de atravesar un agujero negro y se encontraban en una universo paralelo.

Art brings great value to society, from beauty to ideas and discourses that are not dealt with in other areas. Nevertheless, the promotion of the arts is still in crisis and institutions are washing their hands of it. Art seems to be superfluous in this society just when we need it most.

Performative action against HIV stigma.

HIV is a chronic disease that is not more serious under appropriate supervision and treatment. HIV-positive people on undetectable viral load do not transmit the virus.

Every boat that comes ashore off the European coast, every group of displaced people looking for a safe place to live is an echo of a conflict that is still raging and in which all international laws on political asylum are being violated. The echoes from Syria.

We live in a society that censors the body as if it were illegal. A cultural burden that we carry with us from Judeo-Christian origins and that considers the body as something sinful.

Honestly, I was looking for a piece that didn’t need explanation or synopsis. A personal piece. Only because I want to, because I can.
Something to express myself without words. To explore my emotions, my love and my hate; the deepest parts of me.

There are places where you have lived many thing and when you leave them a part of you stays there.

(The objectification of the bodies) Sexual objectification takes place when the person is attributed to the condition of sexual object. Dissociating the sexual sexes and the physical beauty of the rest of the personality and existence as an individual.

It is incredible the impact of social networking on today’s society. We are currently carrying, virtually, all of humanity in our pocket. Without reaching this extreme, we are connected to hundreds of people 24/7, every day of the year. Without being able to be with ourselves: to think.

Five hundred years before Christ was built the Via Salaria, a causeway that ran from the salt flats of the city of Ostia to Castrum Truentinum. Soldiers who took care of the road received part of the salary. This one was called Salarium Argentum, that is, salt money.

Let me tell you a tale. No, better. Let me tell you six little tales about how sweet is sex. Because sugar and sex take the same brain reward system. Then, let me tell you Little Sweet Sex Tales.

The Universal Declaration of Human Rights is being systematically cut, article by article. From the institutions that are supposed to watch over it, whether by action or omission.

Love of today must to be served in very thin slices, sparing in love and human warmth. A good stream of lemon -and a pinch of coarse salt- is recommended on this contemporary love, so that it shines more.

From all fronts we receive inputs, opinions and sentences of what we can do and what we can’t do. This constant denial makes us easy prey of discouragement and we end up internalizing our inabilities. But what if we were able to persist in our attempts and say no to no?

Anatomía del cerdo (Anatomy of the pig) is a figurative research about meat production. At the same time it proposes to human being like a piece of meat that can be produced and consumed.

Like in a public auction artist is exposed and available to buyers. As in real life we sell our time, our body and our emotions to highest bidder. Doesn’t matter what we desire. Our destiny is at the mercy of our buyer. It leaves us in a state of helplessness. We are sold.

The world always was characterized by differences between North and South, being the last poor countries. In a Europe without borders an imaginary line is drawn with a pencil called GDP, the EUROFRONTERA (Euroborder).

Fountain takes as start point the eponymous and iconic work of Duchamp. Doing a face-to-face with such famous piece to generate a dialog through time and between artists.

Religion constitutes an anachronism in a society that considers itself scientifically and socially advanced. Myths and legends that form the scriptures contradict all scientific literature and nowadays’ knowledge.

We are born classifiers. We divide good from bad, and healthy from harmful. We also divided by gender: men and women, boys and girls. The human mind tends to categorize. It is an unconscious mechanism that helps us to relate with the world around us.

Power needs an ally to perpetuate itself. From Royal Guard until modern police of today, they always had been to service of power.

Two concepts completely different. Two pairs of hands far from each other. Without more defense than themselves, the Pianist and The Onanist are facing loneliness separately. Thus shake hands in the distance to make a SOLO.

There are someones in the Church that wear very bad habits.