Good Job, Good Boy (Sketch IV)
Good Job, good boy is an in-process thought around intimacy, imagination, and class difference. Which weaved together personal recollections of youth, queer desire, and rurality. This composes an image that underlines a constant seek of validation. This quest is presented here with a perspective of labor as a tool within a capitalist, and therefore, patriarchal frame. The work dissects the apparatus that construct ideas of self-value, identity, or social belonging, making use of autofiction and repetition.
Pics by Renout Bos
Good Job, good boy is an in-process thought around intimacy, imagination, and class difference. Which weaved together personal recollections of youth, queer desire, and rurality. This composes an image that underlines a constant seek of validation. This quest is presented here with a perspective of labor as a tool within a capitalist, and therefore, patriarchal frame. The work dissects the apparatus that construct ideas of self-value, identity, or social belonging, making use of autofiction and repetition.
Pics by Renout Bos
Good Job, Good Boy (Sketch IV)
Frascati Theater. Amsterdam January 2023
Good Job, Good Boy (Sketch III) HetHem. October 2022
Pics by Helena Roig
HUNDRED SECONDS LONGER AND ITS OVER [...]
“A hundred seconds longer and it's over. Looking for real? For real. Cállate, que menudo polvo echaron tus padres para tenerte. There is no love, but I call them lovers. Caretaker. Heart-shaped piggy bank” is the title of a performance where the evolving process of understanding and experiencing intimacy is dissected through a visual autofiction.
Through three acts, a changing manipulation of water—from contained reflection to a force defiant of control, and later, a puddle of introspection—speaks to the ever-changing nature of shame. Within a choreography of endurance, friction, and the communal, social, and intimate gestures are abstracted, becoming actors for the destabilisation of normative structures. I assume the stranger as a subject who can be trusted.
“A hundred seconds longer and it's over. Looking for real? For real. Cállate, que menudo polvo echaron tus padres para tenerte. There is no love, but I call them lovers. Caretaker. Heart-shaped piggy bank” is the title of a performance where the evolving process of understanding and experiencing intimacy is dissected through a visual autofiction.
Through three acts, a changing manipulation of water—from contained reflection to a force defiant of control, and later, a puddle of introspection—speaks to the ever-changing nature of shame. Within a choreography of endurance, friction, and the communal, social, and intimate gestures are abstracted, becoming actors for the destabilisation of normative structures. I assume the stranger as a subject who can be trusted.
Sandberg Graduation Show. HetHem October 2021, Amsterdam.Pics by Tom Janssen
Call me, Catharsis Exhibition DeSchool, Amsterdam June 2021Pics by Kyle Tryhorn
Ornamenta Gala
Pforzheim , Germany. September 2022
Pics by Karolina Sobel and Marta Bogdanska
“Deepfaked Ocaña Wishing Me Goodnight” is a celebration of José Perez Ocaña (1947-1983), the Spanish artist, performer, anarchist and queer activist. We meet him as a ghost – a deepfake – during a poetic and diaristic journey, revisiting queer historiographies under the Spanish democratic transition. Ocaña’s apparition allows other guardian angels around us to be seen, reminding us of subversion, heritage, and pleasure.
“first and most important / dream our missing friends forward”
– Glitter in My Wounds by CA Conrad
https://rietvelduncut.rietveldacademie.nl/2021/deep- faked-ocana-wishing-me-goodnight
Graphics by Tomás Queiroz
Mastering by Maja Chiara Faber
A project of Lucía Vives and Eloy Cruz del Prado for Rietveld UnCut
From dawn to dusk is the title of a visual essay where Guillermo, a 83 years old man is followed during a random working day. It is a
tribute to non academic knowledge and a reflection on certain family values and intergenerational trauma.
Acción con monedas I
These are tip coins that I have collected while working as a waiter. The work reflects on the dynamics of labour within a capitalist frame, and the pursuit of certain socio economic status.
Acción con Monedas I. performance 3h, Acción!MAD Festival, Matadero Madrid 2016
