Every month Marginalia invites an artist, curator or project to provide a series of images that will serve as the background of Terremoto, in relation to their practice and current interests. At the end of each month, the whole series of images is unveiled. Here is the selection of September 2019.
People think that Lenny does everything I say, that he admires me and loves me unconditionally. The reality is a bit more cynical: we live together, we are constantly negotiating with the limits, we try to stay out of each other’s way. In our collaborations, Lenny usually goes through a first moment of bewilderment, looking for direction in me, to then continue doing what he wants, how he wants it, when he wants its. In Lenny se come los clásicos (Lenny eats the classics) (performance / painting, 2015), I put three Canson leaves with balanced food dyed in colors, arranged in the form of cave paintings of dogs on the floor. The idea was that Lenny ate the food to expose the stained colored leaves. Lenny only ate two of the drawings, the third did not interest him. In Roll Over Beethoven (video, 2018), a film co-directed between the two (I directed the first part and Lenny the second), he refuses to fulfill his role as director, without even faking interest in making basic aesthetic decisions.
Other times I can anticipate his wishes, as in The Human Whisperer (performance, 2016), where five humans walk tied from Lenny’s neck all the way to his back. Or Masterpiece (performance, 2019), where we recreate The Creation of Adam of Da Vinci: I was God and Lenny, like Adam, licked my index finger. Also, when I put drops of oil in my hand for Lenny to lick, I traced his licks with acrylic paint in Human’s Right Hand (photo, 2015). But one could say that this is nothing more than intuition, chemistry, feeling, made possible not only because we live together, but because we have worked together five years ago
We are partners.