Manual of elegance and efficiency always and everywhere (2009)
( 2009. Open festival, Beijing. 2009. eBent'09, Sabadell. 2010. Acción!Mad'10, Madrid )

foto: Ding Yi-Huang Yi, Isabel León, Efrén Montoya
vídeo: Carlos Pina - duración 11'16''

If you go through your wardrobe, your husband's or partner's, your father's, brother's, uncle's or grandfather's, you will notice that everyone has at least two or three ties that haven't been worn for centuries because they are out of fashion, because retirement has freed you from the obligation to wear them, or simply because you never wear them, but someone gave them to you, or you had to buy them to go to a wedding.

Maybe you don't know, but these ties that no longer do you any service, are a potential artistic material full of symbolism and color, a material that I dedicate to collect to transform it into a work of art through its reconversion into a new object placed in a different context from the usual and the game and, in this way, achieve the evocation of new meanings and attitudes in the audience.

The artist presents herself to the public dressed in a dress made with ties of different colors and styles.

While listening to a off-voice reading a text inspired by the famous book by physicists Thomas Fink and Yong Mao: The 85 ways to tie your tie. Science and aesthetics of the knot. The artist proceeds to show the public how to tie a tie according to the most common knot in the West four-in-hand and then according to the knot used in China by Chinese schoolchildren, the so-called eastern or red nude .

The artist then invites the audience to participate in the performance.

The piece is solved in an installation where the ties hung along the cable and the participants lined up in a demonstrative silence evoke the concepts of encounter and absence, on the one hand, and the yoke that a global socio-economic-political context imposes on us as individuals, on the other.

With the support of the Ramon Llull Institute and the collaboration of l'Estruch de Sabadell.
Special thanks to Carme Santamaria, Lilia Wu and Yip Ching.

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