Absent from New York’s stage and from any underground event, Mario Montez (Puerto Rico, 1935) reappeared in 2010 under the spot light to claim his place in the new revival of the underground culture of the 60s´, the camp´s studies and the question set over the postcolonial view on the tropicalist wave in the last five years. He had come to stay, but in September 2013 the lights of the Theatre of the Absurd were turning off forever leaving before them, the legend of what was once something more of René Rivera and much more than Mario Banana. MARIO MONTEZ, IT’S WONDERFUL!
Before Warhol and Tavel thought on setting him in front of the camera for their well-known filmic experiments (Mario Banana, 1964) and the sadistic film Screen Test n°2 (1965) secondary and linguist and before the theory of Spivak and Camp fell on the multiculturalism and the postcolonial theorists, between the curtains of the Theatre of the Ridiculous, when the Sontag had not yet approached to colonize these new subcultural movements, he was Underground. Mario Montez is like the famous piece of Jack Smith, a burning and blazing creature whose disappearance triggers a necessity to reactivate and dismount, re-read and perform, in able to see the importance of his job in the wicked genealogies on the queer manifestations.
As a group-work product managed by Jesús Alcaide with El Palomar, in which there has been interventions by other active agents of the queer practices in the Spanish state as Aimar Arriola, Jaume Ferreye, Vaginoplastia and Luis Jaume, the project MARIO MONTEZ. IT’S WONDERFUL! sets itself as a result of a series of actions that have been developed towards the last months following an open script to the interpretations of each of the artists, theatrics and activists that have participated in this project.
From these starting points there have there have been some issues that have transformed Mario Montez in the central topos of discussions about the notion of shame as a basic element on the queer´s terminology (Crimp), as a reference element in the reactivation of camp (Marc Siegel) and as a fundamental shape in the construction of New Yorks´ undergruound of the sixties, bonding itself to figures as Ronald Tavel, Jack Smith, Avery Willard or Andy Warhol, but also to marginal tropicalists like Helio Oiticica or the movies of the puertoriquean José Rodriguez Soltero.
This is how pieces of videos, as Mario on Mario (2014), have been appearing. In these videos Mariokissme demands a repetition of the famous performance of Mario Montez in Mario Banana (1964), Tropicamp girls (2014) a piece in whichR. Marcos Mota, Aimar Arriola and Jaume Ferrete propose a reactivation of Montez´s appraricion in Chelsea girls (1966) transforming the original script into a question-answer script in which they refer to some of the strategies for bringing back queer practices, the picture series Las hijas de Montez (2014) of Luis Jaume along with Vaginoplastia and Mariokissme and a reenactment of an image of the film de Oiticica Agripina é Roma-Manhattan (1972) named as “ORA-CULO MACBA” (2014) in which Mario and Rafa take the role of Mario Montez and Antonio Dias changing Wall Steer for Plaza del MACBA, for setting a reflexion over the homogenized structure and strategies of the queer inside the white cube.
Along with this series, in the exposition there will be a documentary space with texts, scripts and images that will be part of a record-in-process about Mario Montez´s art work and the theoretic contribution about his work that have been made over the last years.