THE COMMERCIALISATION OF MYTHS AS A POWER STRATEGY
Rock and heavy metal culture are based on and evolve within a system of hegemonic masculine beliefs, which lead to myths and rituals that play a key role in developing new models of individual and collective identity. I’m interested in the world of heavy rock as a reflection of a dominant ideological structure in contemporary culture. In my work I appropriate and alter videoclips, songs, YouTube videos, music magazines, etc. to create new narratives on the construction of identity, youth and social imaginaries.
Vive y trabaja en/Lives and works in: Madrid.
Máster Oficial en Arte Contemporáneo, UEM Universidad Europea Madrid, Madrid.
Licenciatura en Bellas Artes, UEM Universidad Europea Madrid, Madrid.
Exposiciones Colectivas/Group Exhibitions
Yo no tengo razón, Off Limits, Madrid.
LOOP 09, Festival Internacional de Videoarte, Barcelona.
Blog en caja, Sala de Exposiciones del Centro de Arte Joven, Comunidad de Madrid, Madrid.
Proyecto Medio, Universidad Europea de Madrid, Ateneo de Madrid.
García de Castro, Carlos; Laguna, Sara, "COCK MY RELIGION, Yo no tengo razón", Madrid, UEM Universidad Europea Madrid, 2009, Cat. Exp.
Laguna, Sara, "EN TRÁNSITO. ARTE", UEM, Madrid, Escuela Superior de Arte y Arquitectura, UEM Universidad Europea Madrid, 2009.
Cortés, David, "Blog en caja", Madrid, Universidad Europea de Madrid, 2008, Cat. Exp.
1. What made you choose art as a profession?
I still haven’t really chosen art as a profession – that would mean living off my work and that’s not the case with me. At the moment I see it more as a way of life or profession that needs another one to sustain it.
2. How would you define your work?
A project constantly in progress.
3. What subjects are you interested in?
I’m exploring processes that commercialise the individual through the subculture of heavy rock. I’m especially interested in the influences of myths and rituals in everyday life.
4. What resources – formal or otherwise – do you use in your work?
Everything connected with this subculture: sound, videoclips, song lyrics, magazines, interviews, aesthetics, etc. I usually work directly on this material to reveal its propaganda.
5. What relationship does your work have with reality? What are your raw materials?
My work lies in the blurred area between fiction and everyday reality. I like to explore how certain fictions based on a cult of masculinity end up shaping collective behaviour and identities. Raw material? Very raw.
6. What, according to you, is the point of art?
Whatever every individual happens to think the point is for them.
7. How do you hope the public will receive your work? What audience are you aiming at?
I don’t expect anything in particular or gear my work towards any particular audience – although if I did hope for a reaction, I’d like to upset people. I think art is more interesting when you provoke people.
8. What qualifications have you got? What do you value most from your time in education?
More than an academic formation, I’d say I’ve had an obsessive and worrying deformation. I studied fine art. The key thing from this time was my contact with artists-teachers who taught me to tackle every artistic opportunity critically and, above all, patiently and respectfully, knowing how to value the entire creative process throughout. It was very rewarding to understand that I could work from any point of interest.
9. How would you define your current professional situation? And in the future?
My professional situation is always unpredictable. When I’m working I carry on with my educational process, researching and working on new projects.
10. Many artists say it’s difficult to make a living from their work; how do economic considerations affect you when it comes to work? Do you think this has a bearing on your work?
I’m sure it has an effect, not so much on the projects themselves, but more a question of security, feeling you’ve got ‘energy’ you can exchange to naturally invest in your work. I think it’s very difficult to live entirely from art, which is an enormous risk.
11. What do you look for or expect from your relationship with promoters and curators? What advantages and difficulties have you found with these relationships?
What I’d expect from any relationship: based on respect to create collaborative ties and constructive exchange. My professional career is still only short, so I don’t think I’ve got enough experience to offer a closed opinion on this subject.
12. What do you think sets the arts scene in Madrid apart from elsewhere? What would you say are its pluses and minuses?
I think there are mini-scenes where very interesting things happen, but few people get to hear about them. In general I’d like to see more promotion of new projects: there are lots of different competitions and grants, but there aren’t any real long-term facilities to help keep production or research going.