by Chris Dupuis for Hyperallergic
Nearly five decades since Chris Burden and Marina Abramović began their explorations, an emerging crop of artists are re-envisioning artistic self-harm in both methodology and intent.
(…) For Cuban artist Carlos Martiel, shedding blood is, in a sense, incidental to the work — less a part of the performance and more like a trip to the art store. Blood isn’t usually produced during the event. It’s more often collected in advance, usually by a nurse who withdraws the required amount. 2018’s Black Lament sees him stand motionless for hours in a pool of his blood. In 2019’s High Risk, threads soaked in blood from an HIV negative person on PreP (a treatment that prevents transmission) form a cross around his body. The religious references become more explicit in 2017’s “Peso muerto” (Dead Weight) (where he’s restrained by a wooden cross) and 2012’s “Yerto” (where he lies motionless shrouded in a white sheet, hinting at Jesus awaiting resurrection). (…)
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