“Squat, Bend, Kneel, and Die“
By Judith Sánchez Ruíz | JSR Company
“Squat, Bend, Kneel, and Die “, is an experimental duet inspired by an early work of Cuban-born, Visual Artist Ana Mendieta (1948–1985). In 1973
and 1974, her art revolved around the idea of a single thread connecting everything. In her words: “My art is grounded in the belief of one
universal energy which runs through everything: from insect to man, from man to spectre, from spectre to plant, from plant to galaxy. ”Throughout
her life, Mendieta looked to the natural world as a productive site of memory, emotion and trauma, much like a human body.
Mendieta transformed fear, pain, and rage into powerful and provocative meditations on gender, identity, assault, death, place, and belonging.
Using her body as a vessel of flesh, bone, and blood, she immersed herself in performance art, body art, and land art to create raw, visceral work.
Mendieta’s use of blood carries a strong political message in the form of a call to awareness of violence against women, questioning society’s
treatment of women.
Ana’s work is uncanny in its ability to feel at once radically progressive and ancient, vibrating with a feminine power that stretches back to the
earliest human rites.
Ana Mendieta was a Peter Pan, a dark part of Cuban History that new generations in Cuba were forbidden to explore. JSR was very intrigued by her
life and work and identified with her as an independent artist in her years living in NYC. Judith Sánchez Ruíz created Naked by the Window Series.
“I will stay with you even if you are not here” in 2010, commissioned by Work In Progress at Guggenheim Museum. NYC.
“Squat, Bend, Kneel, and Die “ is a new work, conceived and directed by Judith Sánchez Ruíz | JSR Company, in collaboration with performer Moya
Michael and musician Oreste Noda in voice and congas. JSR intention is to create an experimental Duet using symbolic elements that are
underneath part of our race, culture, and faith.
We became so obedient of the successful modern system today that we tend to behave jeopardizing our authentic voice, passion, and scarcity,
marked by borders, transitions, thresholds, fences, ditches, and walls that prevent
universal change and exchange. People like us no matter where we come from, in our aesthetic, hair, loudness and enthusiasm gets caught in the
same perpetual stereotype consequence everywhere we go and we live with this all our lives no matter how we do. As women we get that
treatment, as an artist, we get that treatment, as mothers and daughters, we get that treatment, as a decent human being, we get also that
The extension of Ana Mendieta vast work resonating in today’s present, the pluralism, the parallels, the absence.
The abstracts connotations lay in our everyday “Otherness” life skin.
JSR work is always curious about the social connotation of art colliding with an ordinary environment, as she explores and develops a social
understanding of what makes art a special spiritual and social phenomenon. She is fascinated by deconstructions and the utopia relationship
between the senses and the collective mass.
JSR concept of work relies on the ramification of subjects than breaks the universal use of our memory, I have been experimenting with a form of
choreography that doesn’t deal with the mechanic memory or the usual repetition or exclaustration of movements but kindly rely deeper on the
layering of subjects and the switching of ramifications.