{"id":45874,"date":"2017-02-16T13:42:21","date_gmt":"2017-02-16T12:42:21","guid":{"rendered":"https:\/\/www.sleek-mag.com\/?p=45874"},"modified":"2019-11-18T11:11:42","modified_gmt":"2019-11-18T11:11:42","slug":"ana-mendieta","status":"publish","type":"post","link":"https:\/\/www.sleek-mag.com\/de\/article\/ana-mendieta\/","title":{"rendered":"Der ultimative F\u00fchrer zu Ana Mendieta"},"content":{"rendered":"

Despite a\u00a0tragic death at the age of 36, Cuban-American artist Ana Mendieta has left a\u00a0mark on the history of performance art forever. Trying to overcome the feeling of disconnection caused by experiencing diaspora at an early age, she acted out hundreds of subtle yet powerful interventions within nature that questioned Western gender roles and beauty standards. Learn more about the artist whose works perfectly capture the spirit of the ’70s art world in\u00a0this ultimate guide to her life and works.<\/em>
\n\"Screen<\/p>\n

Photographs from Ana Mendieta’s Siluetas series. Via visualmelt.com, blogs.uoregon.edu and artsy.net<\/sup><\/p>\n

A IS FOR CARL ANDRE<\/h2>\n

Minimalist sculptor Carl Andre<\/a> and Mendieta had a turbulent relationship that later turned into a marriage. Both of them were heavy drinkers and after a particularly heated fight on 8 September 1985, Andre called 911 to report that his wife had\u00a0“somehow gone out the window” of their 34th floor New York apartment. The next morning, she was found dead on the roof of the deli below, her body having left an imprint on the surface due to the heavy brunt. Many suspect Carl Andre as being involved\u00a0in her tragic death, pointing out that Mendieta was optimistic rather than suicidal at the time. It was also common knowledge among her friends that she was afraid\u00a0of heights. However, the charges against him were dropped due to insufficient evidence.<\/p>\n

B IS FOR BLOOD<\/h2>\n

Blood is a reoccurring symbol in Mendieta’s works. The artist created a\u00a0series of works\u00a0concentrated on rape, which served as a\u00a0response to the brutal rape and murder of nursing student\u00a0Sara Ann Otten in 1973. This performance saw Mendieta cover herself in blood and recreate the victim’s poses as they were described in newspaper articles. She later commented on the works, describing them as an emotional reaction to the horrible events: \u2018I think all my work has been like that \u2013 a personal response to a situation… I can\u2019t see being theoretical about an issue like that.\u2019 In her later works, blood also served as a symbol of female fertility and life.<\/p>\n

C IS FOR CUBA<\/h2>\n

When Fidel Castro came into power, Ana and her sister Raquelin\u00a0Mendieta had to flee their home country\u00a0Cuba. At the age of 12 and 14, they were brought to Iowa by a Catholic organisation that assisted in\u00a0the mass exodus of unaccompanied minors from the communist regime. Subsequently, they spent their teens in several institutions and foster homes, being separated from each other most of the time. Ana\u00a0processed this early uprooting in her nature-related works: “I am overwhelmed by the feeling of having been cast from the womb (nature). My art is the way I re-establish the bonds that unite me to the universe. It is a return to the maternal source.”<\/p>\n

\"Ana<\/h2>\n

Ana Mendieta – Untitled (Glass on Body Imprints), 1972. Via studyblue.com<\/sup><\/p>\n

 <\/p>\n

D IS FOR\u00a0DEFORMATION<\/h2>\n

Mendieta distorted her body and face in many of her early performances and photographs, challenging female beauty standards and the male gaze. Her Facial Cosmetic Variations<\/em> photographs showed her face distorted by makeup was wigs while\u00a0a\u00a0pantyhose was stretched over her head,\u00a0<\/i>and for her Untitled (Glass on Body Imprint)<\/em> series, she pressed a\u00a0pane of glass against different parts of her body, giving them a bizarre shape.<\/p>\n

E IS FOR EARTH BODY<\/h2>\n

Mendieta is best known for her earth body works. She coined the term for her performative interventions within nature such as her Siluetas<\/em> und die Tree of Life<\/em> series. Covered\u00a0in flowers, blood, mud or chicken feathers, she became one with the nature surrounding her.<\/p>\n

F IS FOR FEMINISM<\/h2>\n

Many of Mendieta’s works challenged society’s expectations towards women, and she openly addressed the obstacles women were facing in the art world. However, her sister states that Mendieta had an ambivalent relationship with the feminist movement because she felt like it was not inclusive enough towards women of colour and didn’t address their specific struggles sufficiently.<\/p>\n

G IS FOR GALLERY<\/h2>\n

In 1978, Mendieta joined America’s first all-female gallery Artists in Residence (A.I.R.)<\/a>. It was run by and for female artists such as\u00a0Mary Beth Edelson and Nancy Spero and enabled them to curate exhibitions as well as showcase their own works. Three years after joining the gallery, Mendieta curated an exhibition entitled Dialectics of Isolation<\/em> in which she showcased works of fellow females from developing\u00a0countries living in the United States.<\/p>\n

H IS FOR HOME COUNTRY<\/h2>\n

Mendieta first returned to Cuba in 1981, at the age of 33, after being awarded a Guggenheim Foundation Fellowship and the support of Cuba\u2019s Ministry of Culture. The time she spent there allowed her to reconnect with her home country’s culture and build connections between North American and Cuban artists.<\/p>\n

I IS FOR IOWA<\/h2>\n

In 1973, Mendieta completed her\u00a0studies at the University of Iowa with a master’s degree in painting. However, she had grown to be disillusioned with her works,\u00a0writing that they lacked power and didn’t feel real enough for what she wanted them to convey. She opted for a second master’s degree, this time at the university’s Video and Multimedia Art department. Here, she was introduced to\u00a0the various forms of experimental would later become the main focus of her work.<\/p>\n

\"AnaAna Mendieta – Anima Silueta De Cohetes (Firework Piece), 1976. Via tiff.net<\/sup><\/p>\n

<\/h2>\n

J IS FOR JULIA STOSCHEK<\/h2>\n

If you’re in Berlin at the moment, you have the chance to see Mendieta’s Anima Silueta De Coheres<\/em> unter Julia Stoschek Collection<\/a>. Her silhouette,\u00a0constructed out of fireworks, is shown along a large number of multi-media works exploring the human dialogue with and interference within nature.<\/p>\n

K IS FOR FRIDA KAHLO<\/h2>\n

In both Frida Kahlo<\/a>‘s and Ana Mendieta’s works, we can perceive a certain “shifting between sensuality and violence, as the self bleeds into the environment and vice versa”, art writer Priscilla Frank put it. It is safe to assume that Mendieta was inspired by the Mexican painter, and she even dressed up like her for a costume party hosted in honour of\u00a0Louise Bourgeois.<\/p>\n

L IS FOR LAND ART<\/h2>\n

The land art movement became wildly popular in the ’70s, with\u00a0Robert Smithson embedding his giant “Spiral Jetty” into a salt lake in Utah and Walter de Maria installing his “Lightning Fields” in New Mexico. Land Artists used nature itself as a material and often created works that would vanish over the course of time. Although there are parallels between Mendieta’s works and those of Smithson and de Maria, her interventions within nature were a lot more subtle\u00a0and intimate\u00a0and can be seen an interaction with what was already there.<\/p>\n

M IS FOR MEXICO<\/h2>\n

Mendieta frequently travelled\u00a0to Mexico for her work. In Yagul, an archeological site that was once inhabited by the pre-Columbian Zapotec civilisation, she covered herself in white flowers, creating\u00a0the beautiful Silueta Imagen de Yagul<\/em>.<\/p>\n

\"Ana Ana Mendieta – On Giving Life, 1975. Via visualmelt.com<\/sup><\/p>\n

<\/h2>\n

N IS FOR NATURE<\/h2>\n

In an artist’s statement from the ’80s, Mendieta wrote:\u00a0“My art is grounded on the belief in one universal energy which runs through everything –\u00a0<\/span>from insect to man, from man to spectre, from spectre to plant, from plant to galaxy.<\/span>” Her performances can be seen as an interaction with nature that renders this universal, shared energy palpable.<\/span><\/p>\n

O IS FOR OCCULT<\/h2>\n

Mendieta took great interest in religious beliefs and rituals and often incorporated aspects of various religions into her work. Her ritualistic use of blood, for example, is often attributed to the Caribbean’s Santer\u00eda\u00a0religion.<\/p>\n

P IS FOR\u00a0PARQUE ESCALERES DE JARUCO<\/h2>\n

Upon her first return to Cuba, Mendieta created a series of low relief sculptures at Escaleras de Jaruco National Park. Her Esculturas Rupestres\u00a0<\/em>(Rupestrian Sculptures) were based on Mendieta’s extensive research on the indigenous Ta\u00edno people of Cuba and their creation stories. Among others, she created a series of prehistorical-looking rock carvings based on the ten female Ta\u00edno deities.<\/p>\n

\"facial<\/p>\n

Ana Mendieta – Untitled (Facial Hair Transplants), 1972. Via visualmelt.com and fondation-sindikadokolo.com<\/sup><\/p>\n

<\/h2>\n

Q IS FOR QUESTIONING GENDER ROLES<\/h2>\n

In her\u00a0Untitled (Facial Hair Transplants) <\/em>performance, Ana transferred the beard hair of one of her fellow students onto her own face, defying\u00a0conventional beauty standards and questioning gender roles.<\/p>\n

R IS FOR ROME<\/h2>\n

In 1983, Mendieta was awarded the prestigious Prix de Rome for sculpture, which included a residency at the Italian capital’s American Academy. She was mesmerised by the city and its rich history,\u00a0describing it as a cross between Cuba and New York where she felt more accepted than she ever had in the States.\u00a0During her residency, she worked in a studio for the first time, mainly working on sculptures and drawings.<\/p>\n

S IS FOR SILUETAS<\/h2>\n

Over the course of her short life, Mendieta produced over 200 Siluetas<\/em>. She left marks of her own silhouette within nature in a wide array of ways, constructing it from clay, building it out of flowers, tracing it out with fire or leaving it behind as a subtle imprint after laying down.<\/p>\n

T IS FOR TRAGEDY<\/h2>\n

Mendieta’s tragic childhood and the mystery surrounding her death\u00a0attracted a lot of public attention, almost overshadowing her actual works. Her sister regrets this. “Her death has really nothing to do with her work”, she explains. “Her work was about life and power and energy and not about death.”<\/p>\n

U IS FOR UNIVERSAL<\/h2>\n

Raquelin Mendieta explains that her sister never wanted to be\u00a0reduced to being a “female artist” or a “Latin-American artist” and criticised\u00a0the stereotypical and generalising notions often associated with these terms. Instead, she strived to be regarded as an artist without prefixes whose works spoke to everyone.<\/p>\n

V IS FOR VENUS NEGRA<\/h2>\n

As a project created for the feminist politics and arts magazine Heresies<\/em>, Mendieta combined a picture of one of her gunpowder and earth\u00a0Siluetas\u00a0<\/em>with her own translation of the nineteenth-century Cuban legend The Venus Negra,\u00a0<\/i>a legend about a Siboney woman who thwarted Spanish colonisers attempting to capture and enslave her. As a Cuban tale of great cultural importance, the legend’s cultural ambiguity goes hand in hand with Mendieta’s works which draw inspiration from multiple cultural and ethnical sources at once.<\/p>\n

\"guerilla<\/p>\n

Guerilla Girls poster drawing attention to the trial against Carl Andre. Via\u00a0guerillagirls.com<\/sup><\/p>\n

<\/h2>\n

W IS FOR WHERE IS ANA MENDIETA?<\/h2>\n

For the past three decades, feminist protest groups such as No Wave Performance Task Force, WHEREISANAMENDIETA and the\u00a0Guerrilla Girls<\/a> have repeatedly pointed out the underrepresentation of Mendieta’s works in museums and the injustice that was, in their opinion, done to her by the art world’s sweeping the charges against Carl Andre under the rug. “Where is Ana Mendieta?”<\/a>\u00a0became the tagline of several protests, the latest of them taking place last year at the opening of Tate Museum’s new wing.<\/p>\n

X IS FOR X-RAY<\/h2>\n

X-Ray,<\/em> from the mid-’70s, is the only one of Mendieta’s videos that features sound. It shows\u00a0her mouth talking into\u00a0an X-Ray machine and is part of a little-known series of videos\u00a0in which she experimented with visual effects.<\/p>\n

Y IS FOR YVES KLEIN<\/h2>\n

Yves Klein’s multidisciplinary works served as an inspiration to Mendieta. She was introduced to them by\u00a0contemporary artist Hans Breder, who she was in a relationship with before she met Carl Andre. Breder also introduced her to\u00a0Marcel Duchamp and the Viennese activists, giving her an entrance into the art world.\u00a0<\/span><\/p>\n

Z IS FOR ZODIAC SIGN<\/h2>\n

Just like Lee Lozano and Pablo Picasso, Ana was a Scorpio. Scorpios often have a dark, sensual air about them and are passionate and caring in their personal life while at the same time pursuing their goals single-mindedly when it comes to business and pleasure. Her friend and fellow artist Ted Victoria described her as “driven in everything she did”, which made her “feisty and combative as well as great and generous company”.\u00a0<\/span><\/p>","protected":false},"excerpt":{"rendered":"

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