Lola Lasurt reports on the latest news on the Covid era at the Madrid Behavioral Center

For this project, Lasurt is learning Graham’s choreography and enjoys dancing her idea in her studio while you will hear the latest news of 2020 on the radio. But no wonder: after taking the project on the body, I begin to paint a series of frisos that depict movement Deep song subsequently as stills of the film (after all, take pictures of the bailiff as it goes).

All these elements can be transformed into the Madrid Condeduque, together with the bench that Lola Lasurt used for her analysis and the spoken canvas that acted as a background, which recreates one of the interpretations that have been created for the piece.

Lola Lasurt’s work is usually busy pictorial, ceramic or public installations for research works that explore historical moments of the past it connects them to the real moment. Here we meet the legendary dancer Martha Graham (1894-1991), one of the mother of contemporary dancefocusing attention at a particular moment in your trajectory.

Martha, not very polite, It was forbidden to discuss religion or politics at school.. However, when she was invited by Hitler’s Third Reich to create a piece for the Olympic Games in Nazi Berlin, she flatly refused and publicized it in a negative way. This gesture opened the door to his inclusion in anti-fascist actions that showed the rejection of the coup that took place in Spain in 1936: in the international context it was seen that the war conflict had spread beyond the Iberian Peninsula and that what was at stake was the international peak of fascism.

It is in this context that when in December 1937 Graham introduced Deep songone of two pieces dedicated specifically to the war in Spain. A bailiff title that lasted just five minutes have a link to A poem from Cante Jondo by Federico García Lorca (1931)also planned as a homecoming to the poet he had requested in 1936.

The movements, on the other hand, are “an appendage of the body against the destruction inspired by the photographs of our war” (in the words of Laura García Lorca). The Civil War was the first conflict reported by a group of photojournalists professionals who brought real-time violence to the world and turned the citizens of the rest of the countries into food spectators. He asked the question of how to act in the face of “men’s pain,” as the thinker Susan Sontag would say.

For Lola Lasurt, the project concerned learning the “Graham Technique”, a hard body system that allowed her to recreate the original choreography: for her, “pictorial practice also requires a reworking of movement to counteract mere representation”. In the video, which captures the days of physical exercise, we see Lasurto in his studio dancing while the news plays on the radio.

Yes, good The project began with the rise of extreme crisis during the Covid-19 pandemicSoon there will be war in Ukraine and genocide in Gaza. Embodied in the body of an artist, Deep song it is updated with new resonances that will affect the permanent disaster: this is alluded to by the “aún” in the exhibition’s title.

The training is a preliminary preparation for painting and a reflection on the dimensions of the performance. Cuando Lasurt if you rush to frisos for oil, do it on continuous days when automatic payout resumes. It is revealing that the body of the clouded ballerina now emerges from the head as the sequence progresses.

The height of each Friso, on the other hand, keeps increasing: the first one is 25 centimeters tall; the second, with subtitles Las Caidas, You are 50 centimeters and the exposition ends with ice cream Las Cargas, These characters are natural size cases. Lasurt has painted all over the body, like a medium, let the past pass through you. So for the last three years we have been dancing in this decade of the twentieth century and our choreographies have begun to appear as a resistance in
present.