El Palomar presents Cada paja es un aborto, the first solo exhibition of Lucía Egaña Rojas in Barcelona. Cada paja es un aborto problematizes the stigmatization of non-reproductive sex and investigates the possibilities of agency of the monstruous, the deformed and the incorrect. The exhibition is constructed using various materials, produced at different times and with different narratives that converge in the same space: the 20 square meters of the Palomar.
“Every wank is an abortion” is taken from Christian right-wing jargon. The wank, a non-reproductive sexual act and predictable reflex reaction to mainstream pornography, in a strange way acquires the sinful connotations of abortion because a substance susceptible to becoming and embrio “is lost”.
Included in the exhibition are 24 small-scale collages made from fragments of ID photographs found in front of a nursery that no longer exists. The pieces were reassembled forming aberrant and at the same time ridiculous physiognomies. These faces were fragmented in order to adhere to the adult criteria of protecting the image of the infant, prohibiting its trafficing beyond the regulatory context of the nursery and at the same time destroying their photographic representation. The agency of their faces could only operate according to the parameters of the educational bureaucracy, in a transit towards the development of a potential humanity – always a supervised promise of the future.
Children continue enunciating one of the biggest areas of vulnerability. They are not yet – but will eventually become – people, and thus their image must be protected against the threat of the unregulated gaze of the streets. For the time being their representations do not even have the right to be trafficked in the trash, through the circuits and drifts of the useless.
Another exercise in medium format collage gathers genitals usurped by the eye of the medical institution, alongside images of the magazine Private. These two spaces of enunciation of the mechanized / privatized body produce a short circuit that is endorsed by the shared aesthetic of a coherent and regulated genre.
The exhibition is completed with a small installation of bread made with sexual fluids collected by Lucia Egaña. Bread, the bare basis of nourishment alongside water and a symbolic material from multiple perspectives, becomes an object endowed with a masturbatory force, incorporating in its dough the disgust and threat of the toxic. The bread that doesn’t get eated by those attending the exhibition was given to the pigeons (‘Las Palomas’) in a closure performance.
During the exhibition period two practical/experimental workshops was helded in collaboration with Yosjuan Piña and Dani d’Emilia.
Lucía Egaña Rojas does not adhere to one single means of production: she works through writing, audio-visual productions, art installations, workshops, academic infiltration, feminist activism, collage, among others. Her position is closer to the experimental than to the expert. In terms of themes Lucía problematizes the relationship between high and low culture, between high tech and low-fi, between public and private space. She does this through the research and dissemination of transfeminism and postporn, DIY, dynamics of error and collective art projects.