Helena Cabello and Ana Carceller live and work in Madrid.
2006. Ejercicios de poder, Galería Elba Benítez, Madrid.
2005 . No es él, Galería Joan Prats, Barcelona.*
2004 . En construcción (cap_2), Centre d’art la Panera, Lleida.*
En construcción, Sala de Verónicas,Murcia.*
2002. t.i. (todo incluido o maneras contemporáneas de viajar a la utopía), Centro Cultural de la
Diputación de Málaga.*
Buscando una utopía disponible a cualquier hora, Galería T20, Murcia.
2001. Apuntes sobre alguna parte, Project Room, ARCO’01, Madrid. *
Viaje itinerante hacia alguna parte, Galería Buades, Madrid.
1999. Sin necesidad aparente de título (Capítulo II), Sala La Gallera, Valencia.*
1998. Una habitación doble, Galería Joan Prats, New Art 98, Hotel Barceló Sants, Barcelona.
Sin necesidad aparente de título, ciclo “El yo diverso”, con Javier Pérez, Sala Montcada, Fundación ‘La Caixa"
We formed the team Cabello / Carceller in the early 90s with the aim of providing a framework for dialogue and debate to common artistic concernings. Our projects use video, photography, writing, drawing, sound or the creation of environments for users to move to a stage that challenges hegemonic modes of representation, offering critical alternatives. From this perspective we have developed fragmentary and multidisciplinary work lines, open to the construction of situations beyond simple definitions without avoiding the conflict.
As part of this work we have initiated an investigation that covers most contradictory aspects of masculinity and helps to deconstruct the model exported by Hollywood beauty, a model that has seduced many other societies. Our project appoints stereotypes involved in building this global masculinity. To do this we focus on examples from the film, which we consider one of the schools most important modes of behavior in our culture, which acts as a screen and a mirror which allows to observe and reflect. In this work we are trying to discover some mechanisms of identity construction that are used in this "school" and its immutability question proposing the recognition of the masculine as existing outside of a particular body.
The trilogy consists of "Casting: James Dean (Rebel Without a Cause)", "Ejercicios de poder", "After Apocalypse Now: Martin Sheen (The Soldier)" and explores these ideas in four films. In "Casting: James Dean (Rebel Without a Cause)" 16 women represent a key scene from the film Rebel Without a Cause. After attending an open casting call, the players agreed to play James Dean, one of the most imitated stereotypes of "male behavior". Through the recreation of some of the most significant scenes of the films "Schindler's List" and "The Apartment", the video "Ejercicios de Poder", featuring two women (amateur performers), explores the dynamics of power and subordination especially behind the structures of gender in capitalist societies. Filmed in an abandoned snuff mill, the project examines the staging of male behavior in the working environment. Finally, "After Apocalypse Now" deconstructs the figure of the anti-hero, now played by a Filipino woman, and places it in the original scene of the movie, going through the problems and contradictions of identity processes in a post-colonial era.
The experience of the body is developed as well in globalized scenarios, not places that operate cross-culturally as a refuge for antinormative behaviors. The empty swimming pools of the series "Untitled (Utopia) 'proposes an intriguing counterpart to the cheerful California by David Hockney, showing a time visually closer to dejection than to post-AIDS times. In 'Alguna parte', nightclubs evicted after the party offer the possibility to critically approach interesting desolated spaces. Both series were developed in Madrid with the subject of our immediate environment to the scrutiny of a wrong look, out of time and place, with an inappropriate appearance.