Something is moving under the earth, one with the dust, water and asses, a being in transformation, something beyond words and meanings, something which gradually is transformed into a body, her body, her poetry, the body poetry of Aku Menditeguy. A fantastic artist from Argentina, a woman with an unstoppable appetite for unification with what is inexpressible in life, in spirit and matter. Please connect her words with Thrausma with her amazing performance projects on: https://akumenditeguy.com/
Read & Download here her Portfolio and CV:
Body Poetry, Corporeal Art and Performance.Which is the deeper motivation that defined your whole existence to engage in such a holistic Art experience?
I was born an artist. Since I can remember, my way of expression was through my body. A sensitive soul, I’ve always processed experiences -which I so deeply felt- through movement.As I grew older,I forged a solid relationship with words as well. After years of art studies and exploration, in search of a sole discipline where I could express myself, I decided to allow myself to create from a place of fusion (and freedom). I combined my passion for words with my obsession for movement and began creating video performances to share my body poetry with the world.
The selection of your projects is related with personal experiences or inspired from more universal and abstract thematics?
My projects are born mostly from personal experiences, but there are times when I get inspired by abstract themes. However, they usually endup having some connection with situations or emotions that I have been a part of in my life.
Share with us the response of the audience to your Art, how do you translate their reactions, how much influence do you think you have on them?
The audience is as varied as humanity itself. I’ve seen people be deeply touched by some videos. Cineris (part of Renascere, currently in exhibition in Venice), for example,touches many fibers since it deals with life and death (and rebirth). Sometimes, through repetition of certain movements, the audience is forced to remain in an uncomfortable place, and sit with those sensations while watching the scene unfold.
In Nimbus, where I swim in what seems like amniotic fluid,I’ve seen fascination as well as rejection.I think it depends on the relationship each person has with their own memories and emotions.
With their birth,their idea of death,how they deal with frustration,etc.
Philosophically speaking, do you want to create narratives of a second body through your body, to expose a debate between something human and posthuman inside you?
In the context of my work, creating narratives of a second body through my body aims,in any case, to explore spiritual posthumanism. Even though ‘post’ suggests a temporal sequence, while in the cosmic and spiritual realm, concepts of ‘pre,’ ‘during,’ and ‘post’ are irrelevant.
Instead, I would say my art delves into the timeless evolution of human identity and existence beyond physical constraints. Even within this very concrete human experience, we are still discovering what we are capable of, continuously pushing the boundaries of our understanding and potential, and that doesn’t necessarily involve technological posthumanism.
Nudity and Eroticism. Do you feel the need to spread attraction, seduction and magnetism through your projects?
I do not feel the need to spread attraction or seduction, maybe magnetism, if we understand by this term the ability to attract and produce a sense of charm in other people.
Nevertheless, if in the process of communicating my art someone connects with it from a place of sensual attraction it is more than valid, since I am aware of my constant use of nudity in my pieces.
My aim is to connect with the most intimate fiber of the human being exposed to my artwork, awaken every single one of the five senses that we have at hand.
Tell us a few things about the art movements or creators that somehow had an impact on your initial artistic stage.
My initial artistic stage was influenced by several key figures. Isadora Duncan’s emphasis on natural movement and emotion inspired fluidity in my body poetry, while Martha Graham’s psychological depth encouraged me to explore complex narratives. Pina Bausch’s blend of dance and theatre added dramatic intensity, and Marina Abramović’s endurance art pushed me to test physical and mental limits. Ana Mendieta’s earth-body art connected me to natural and spiritual themes, and Bill Viola’s immersive video art showed me the power of multimedia in performance. These artists collectively shaped my approach to body poetry.
How do you feel during your performances, is it possible to document the precise condition inside you at the moment of creation?
During my performances, I feel a profound sense of connection and transcendence. It’s an intense and immersive experience where my body becomes both the medium and the message. Documenting the precise condition inside me at the moment of creation is challenging,as it’s a dynamic interplay of physical, emotional,and spiritual states.Each performance is unique, a moment where I tap into deep reservoirs of feeling and intuition, making the internal experience as fluid and evolving as the art itself.
