The cliché's power is inexhaustible, because the cliché never dies. Becomes. That's what he does Pilar Albarracín (Seville, 1968) with stereotypes, he turns them inside out to shoot with his own bullets on their own meanings. It is not a suicide, it is a reinvention. A celebration that has brought to the streets of the center of the capital a hundred women crowned by the mother of all topics, the Sevillian dress. They have come down from the AVE from Seville and have walked, in procession, to the Tabacalera, where the artist has inaugurated Get the dance out of me, a magnificent retrospective of his 25 years of work, organized by the Ministry of Culture. The stereotype tightens but does not drown.
The group has entered and has fallen on the floor of the old cigar workers' workplace. And there they have been lying for a quarter of an hour. The artist had tried it before at the Picasso Museum in Barcelona, where they stayed together for a couple of hours. They do not sleep, they look dead. There will be someone who sees in the performance a colorful carpet, a flowery blanket or a crowded mass grave. Sensitivity also determines the power of the cliché, not the other way around. In any case, the paseíllo de faralaes warns about the invisibility of women and the repression in their public, political and social activities.
The women of Albarracín are heroines who climb buildings with their classic canasteros flamenco dresses, with a fitted cut, generous neckline, half sleeves, large polka dots and voluminous ruffles with several layers and lace. Cliché dresses claiming their own space for what they are, not for what they appear. Heroines without pedigree, claims without privileges. His walkers are living brushstrokes – which Yves Klein said – that break with what he tries to reduce them. They are committed and sovereign women, who walk through the streets, in a cheerful and colorful caravan in the middle of the storm.
The women of Albarracín first acted on the sidewalks of the Ronda de Valencia and then, in Tabacalera, they transformed into a living painting. From the humor walked with impudence and sarcasm, spectacular, to the frozen laughter. "In the skin of the other", which is how the action has been titled, is a huge picture that can never be given up, because it will be repeated until the inequality, mistreatment, harassment and demolition of those who resist , oppressed to the stereotype. And protected by Pilar Albarracín.