Susana Delahante and the Flesh

/ 18 March, 2015

I must say this: Susana Delahante’s art makes me restless; Susana’s art bewilders me. I have been thinking on these words for a long time: art should not be innocuous. There is something that is vital for me and it is what I—or many others—are tending to name “the human experience in art.”

(…) One of Susana’s first works, Pase, acceso ilimitado (Enter, Unlimited Access, 2004) consists of a series of photos taken in the morgue to bodies of murdered women on which she superimposes her own image. (…)

I suppose that conscience of the body in the world, that conscience of being, that empathy, made her think with more strength about her own death, about her own vulnerability. In the series of pictures entitled Posibilidades (Possibilities, work in process), Susana even begins to represent her death so as to see it from outside, to witness it, to be ahead of the fact or, perhaps—and this is mere supposition—, to try to turn around an idea and look at it in every direction trying to exhaust it in her thought.. (…)

With El escándalo de lo real limits moved again, ethical limits, prejudices, fears. In this piece, Susana submitted herself to an artificial insemination with the semen of an anonymous donor after he died. (…) “The child was not part of the piece. It was a result of it, not the work,” she told me. Unfortunately, the child could not be born. (…)

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