Maria Cosmes. Glances


In Gazes , she reveals herself to others in uncomfortable or anomalous situations, situations in which she struggles to leave a subtle trace face to the indifference of others, showing herself and demonstrating her existence, even to those who refuse to recognise her.

She plays with the gaze in actions such as Reflection (2004) or The other's eyes (2002), in which the mirrors that cover her totally or partially return to the public that observes her own image, being defined herself in the ambiguity of what others see and of what they do not see. In these and other performances, Maria Cosmes introduces an element of vulnerability, working with blindfolded eyes, blind and defenseless, disoriented after spending long periods in the dark in sometimes indefinite spaces, almost always unknown; she also does so, for example, in Traces (2002)in which she marks with perfumes and essences spaces and people she encounters in her blind wandering.

Also in actions such as A summer Sunday in Innsmouth (2001), in which he covers his half-naked body with green clay on a family beach a summer day, we find this relationship with people who doesn't know what was happening and who sneak around; we establish a relationship of glances, the relationship of looking at the stranger, or rather, the relationship of looking at him without wanting to do so, or without wanting to be discovered.

Carlos Pina
Independent curator
director of eBent, international performance festival of Barcelona (2003-2010)
february 2013