Maria Cosmes. The Weaver


The weaver (2010), a collaborative performance with Saverio Longo, is inspired by bondage and uses musical quotations as "cultural materials". It is a performance in three parts. The first was recorded in a closed space and shows the process of construction of the string dress. This video is projected at the beginning of the live performance before Saverio and Maria appear, she with the string dress, her arms immobilized and her breasts in the air, he impeccable in his white shirt. After the opening dance they both perform, a waltz, as if it were a wedding, Maria remains motionless in the middle of the room like the dolls of the music boxes so that those attending the event dance with her to the sound of the music that floods the place. The choice of songs is not casual either, the lyrics always speak of relationships between women and men, some romantic, others about fatal women, others about loves that kill. The image of Maria immobilized generated readings opposed among the public, from repulsion - for the image of domination and submission that they seem to transmit - to others of a sexual nature and even feminists. This game of multiple readings is not alien to Maria's intention, since although her work does not seek provocation, she does not want to make any concessions for the sake of maximum rigour and coherence. For her, this work, like all hers, generates questions without giving any answer; whoever finds one is theirs. For Maria, on the contrary, in each work she is assailed by new questions, which generate even more uneasiness, that the action can mitigate only in part. At the end of the performance Saverio delicately frees Maria from the ropes and clothes and, later, from the wig that covers her head, at which point she confesses to felt - for the first time - absolutely naked. In this last part there is a game of three between Maria, Saverio and the strings, in which each of them plays a very special role. The ropes keep the contact between both performers at all times, maintaining their tension is essential not to break abruptly the relationship of devotion and care that has been established between them and are gradually revealing the marks that have left on the body of Maria. Saverio's attentive gaze watches over any sign of the state of that being entrusted to him in custody, while Maria's expression is one of overwhelming beauty, not inexpressive or resignation, on the contrary, of ecstasy 8 .

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

8 Ecstasy means to be "out of oneself", as the Greek etymology indicates: the action of getting out of one's position (stasis)."To be out of oneself" does not mean that one is out of the present moment as a dreamer is escaping into the past or into the future. Exactly the opposite: ecstasy is an absolute identification with the present instant, a total oblivion of the past and the future. If both the future and the past are erased, the second present is found in empty space, outside of life and its chronology, outside of time and independent of it (this is why it can be compared with eternity, which is also the negation of time). "Milan Kundera, The Betrayed Testaments".