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Por:Fernando Castro Flores

...A characteristic of the intervention “Cobito” by Ana Rosa Rivera is the particular insertion of the “post-performance”: a subversive activity stemming from a double (post) Expressionist and neoDadaist, losing its anarchic character during the past decade as the result of a certain type of restaging. Yes, in the words of Rosalee Goldberg, the “performance” passessed a peculiar and definitive attribute which means it could be absolutely anything, its contemoraneousness stems from the “estreme aperture” of its singularlly media context. Action develops before the video, the photographic camara or in the Web’s electronic space; “real time” is a spatial espansion or a dislocation. However, Ana Rosa Rivera Marrero stresses the theatrical charactel of her instalation by giving life to two caryatids wich activate the architectural space, providing it with a dimension bordering on choreography. The two performers interpreted the other installations to the point of physical exhaustion,posing a disturbing question to the public: What kind of standard, pale reaction do we have when confronted by a work of art when we are only capable of silently walkin before them without showing any type of physical response? The arrangement of object remains as the residue od a predominantly epheral dynamic, a shared personal experince introducing an ornamental dimension that would have been opposed, in principle, to a development towards a minimalist or rendition of modern architectural style. The body and the garments are treated as a scupture in a way that, despite adhering to the code of an expanded field, presuposes a journey throgh architecture and the modulation of inmediate timen imposed by theatrical action, in a drift that ends up creating the presence of an object through its absence.