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PERFORMANCE
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An Ongoing Performance in 13 parts
December 2006-December 2007
The action of jumping 51 fences in different locations around the city, and around the world. The artist will wear a mask like disguise to remain anonymous.
Fences protect and isolate. They are a demarcation of an area, a symbol of possession, a 'keep off' sign and a command to stay within an area. They divide and unify, provide security and project fear. Their duality is our history. Fences and borders are reasons for war. They represent differences, our limitation for communication, territorial control, and a psychological fright to people,ideas and cultures.
The purpose of this performance is to transgress those limitations, giving the artist a physical and intellectual freedom to discover the unknown; what lay on the other side of the fence. The documentation of this piece will include a poem and photos for each jump of the fence.
JUMPING THE FENCES is photography, performance, poetry, history and travelogue in a time space of 13 months.
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A Collaborative Performance/Scupture Project
March 29, 2007
San Juan, Puerto Rico
A performance/sculptural anthology project of 51 Puerto Rican artists and writers displayed at the National Gallery of the Institute of Puerto Rican Culture Convento Los Dominicos, Old San Juan.
The performance project is revisited from the 1982 OCTOPUS and displayed as a sculpture book, consisting of 13 plywood panels, each 4 feet wide and 8 feet high, had the capacity to open up to 52 feet long. Each artist/poet had one page/panel to represent them. The artists constructed their work in white on previously painted black pages, the white serving to visually unite a diverse group.
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A Poetic Performance Project
November 2007
San Juan, Puerto Rico
A public art/ collaborative theater /poetry environmental art installation.
A poetic route in which a fragment of the text is tied to the palms.
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A Performance in Two Parts
March 22, 2006 Loma De Los Vientos, San Juan, Puerto Rico
May 29, 2006 Bajamar, San Juan, Puerto Rico
Colo takes a ritualistic response to Puerto Rico’s disconnection to the United States due to Puerto Rico’s commonwealth status. He also represents Puerto Rico’s political parties’ struggle that wavers between wanting to be identified culturally as an independent state, yet politically confined to its commonwealth state.
Scenario: A beach towel displaying the Puerto Rican flag I spread at the foot of the hill across from The Capital Building. There are 51 pieces of white paper on the ground in front of the towel. The artist emerges; skin glistening with oil and tree stars pained on his back in green, red and blue, the colors of the political parties. The artist is accompanied by a sheep, the nation symbol of Puerto Rico, tied to his waist by a rope from which hangs a special bell made in India used for keeping away evil spirits. His forehead is marked with a black X.
Action: The artist bows 51 times facing northwest toward Washington, D.C. As the bows repeatedly, each of the 51 pieces of paper on the ground will be marked by a freshly painted black X, which he applies with his index finder. This will render 51 drawings in the form of an X symbolizing the power to vote in free elections. The artist, carrying the sheep on his back, will then walk down Munoz Rivera Avenue to Patos Beach in Bajamer. There will be two congas there that he will play. The sheep will dictate messages to him which he will transcribe in hieroglyphics on 51 pieces of paper.
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An Armory Show Performance
February 2006
New York, NY
In a 3 ft sq space
One on one, eye to eye
Papo Colo, bare-chested
Asked:
Do you believe in God?
With a knife in hand
He made an incision above his heart
And with a piece of cotton fabric
Collected the blood.
He signed it, framed it, and kissed you,
Making a print from his body for 500 dollars to benefit Exit Art
"The reason for this cutting performance was The Armory Show and the metaphor of the artist in the art market. As a Latino artist, it represents another layer of meaning - the low wages for migrant laborers. And as a printmaker it is the blood of a poet as the ink of a print."
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A Performance Event
May 30, 2004
San Juan, Puerto Rico
AROHEAD is a novel approach to understanding the intelligence of sports and to reading culture through art. The Puerto Rican Olympic Basketball Team converges with art to create a conceptplus installation. The action took place in the legendary Escuela Superior Central, located two blocks from the museum. Two canvases, 20 x 12 ft, where spread out along the floor. The basketball team then simulated their practice warm up and as they played on top of the canvases their sneakers and basketballs which where dipped into 3 colors of paint (green, blue and red) left imprints of their moves on the canvas. A stamp pattern began to form and the final product transformed the performance into a neo impressionistic painting (in reference to the first Puerto Rican painter Francisco Oller). This painting was then hung on the wall of the Museum with the basketball hoop in its center, creating a kind of sculptural collage. On the floor, opposite the wall, an installation of cast hands in the throwing position completed the experience of the performance.
The purpose of this performance: to bridge the arts with other areas of popular culture - sports are an art form, to create new mythologies, new heroes and new readings of what influences society, to promote extraordinary dedication and teamwork, to introduce a new public to art, by way of sports, to give national heroes a permanent place in the museum and to invite artists and curators to use the conceptplus method.
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A Collaborative Performance/Scupture Project
July 8 through August 31, 1982
El Museo Del Barrio
New York, New York
A performance/sculpture anthology of 25 poets and visual artists.
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