Given her background in performance, Alegría Gobeil develops their work through protocols and actions that flirt with self-destructive or dangerous practices. Although some of their gestures can be compared with canonical body-art works — those of Gina Pane, Ron Athey, or Franko B, for instance — a closer examination reveals that Gobeil’s objectives are significantly different. For this artist, wounds are not intended to prove a strong conviction or be a calculated self-sacrifice for art. Cutting is not a metaphor, any more than it asserts the artist’s glorious sovereignty over their own body. Rather, Gobeil performs their wounds in solitary, far from other people’s eyes and their inevitable reprimands.
This article also appears in the issue 106 - Pain
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