ISOTROPIA is a totally independent event organized by Blanca Arias and Edu Rubio on the 30th of September of 2017 and filmed by Marc Luguera. It aimed to move away from the concept of a traditional artistic event linked to both visual and sound exhibitions, proposing an ephemeral journey through two pieces that reflected on the spatial and temporal values inherent in its existence.

It’s necessary to resort to the concept of live installation to enter Sheps-ankh [Blanca Arias (+ Edu Rubio)]. With the aim to draw a parallel with street harassment, the piece started to develop with the choice of the walk of sphinxes as the conceptual focus. Here, the presence of a feminine aggressiveness -collective and conscious- is dominant and actively exerted over the obtrusive walker, being provided with the power to get him/her away from the temple and considering the sphinx a figure that effectively embodies qualities conventionally used against the concept of customary femininity, such as cruelty or strength. In addition to that, there’s an absence of something tangible to which sphinxes should guard. In Sheps-ankh, their raison d’être ceases to satisfy others needs and, contrary to that, sphinxes come to life to safeguard their own existence, as well as their companions’.

On the other hand, in the eagerness to bother the pedestrian, references to the Hathor sistrums are included, an instrument that the Egyptian goddess of love (otherwise called the “lady of the golden flame”) used to scare the bad spirits (thereafter, the sistrum would be restudied by Edu Rubio, who would go for the original Egyptian designation –sekhem– in order to fight against the Greek construction of “music”). Therefore, the inclusion of vibrators, which constitute the sound part of the installation, imitating the hathoric hymns, materialize the culmination of the work with an ode to self-pleasure, understood as the strong point given to the female subject.

Vexations Simultànies [Edu Rubio (+ Blanca Arias)] develops the idea of implicit hypereverticality in the spatiotemporal condition of the 21st century. It is a reflection of the speed at which events occur and become obsolete in parallel to the speed of growth of new technologies, causing them to overlap with each other within the timeline where they happen.

This fact is materialized in multiple aspects of contemporary society, affecting the artistic practice and its perpetual research for new forms of originality in relation to the formal and conceptual production. Thus, new trends become popular and expire frenetically, demonstrating that they are nothing more than a distortion of previous concepts and resources resulting from the overlay of ideas and formalities previously established. Another example is the attempt to find new ways to define contemporary art without integrating time as an element that actively participates in the renewal of thought and artistic production.

The chosen piece is part of Vexations, a work by the French composer Erik Satie who presents a musical motif designed to be repeated 840 times. Therefore, Vexations Simutànies intends to pervert the timeline by overlapping 95 reasons by changing to each set of notes its tone. In turn, there are 4 space groups (each one transmitted by a different speaker) which create a new sound paradigm from the premise of something already established. The viewer can enter and leave the translucent enclosure where this sound is framed, but it stays is trapped inside.