Caso Público: Zona Azul documents the performance that Larrea directed in 2002 in a street of Madrid, Calle Valverde, where a group of people, under the artist’s direction, put blue covers on a row of parked cars. Aiming to provoke surprise and the reaction of passers-by, the piece is also a reflection on the aesthetic order that certain elements create in a city and on how this aesthetic could be transformed.
Due to the close balance between the control and restrained design of the performance on the one hand and the subversion that it implies within a public space on the other, the piece has an interesting twist. The efficacy of Larrea’s project, which is perfectly organised and orchestrated by the artist, and executed with impeccable synchronicity, actualises and deconstructs the happenings of the 60s and 70s. In these, once the idea had been presented, the rest of the piece was left to unfold guided by the foolishness of the participants. In this case however, the actors are pieces of one single chain, amplified members of the artist, who quickly develops the action attaining a powerful effect, which is visible in a bird’s eye view shot.
The work that Larrea has produced in the last few years is located in the field of reflection on artistic practice itself and its effect in the life of the individual. The work tends to fall within open disciplines, very far from object-orientated art practices. Larrea offers a transverse look at the act of creation, focusing on the relationship art-life. Some of her favoured practices are the performance, the happening, video and installation. These are practices of ephemeral art, with which she formulates fields of reflection that come into dialogue with each other, within the lines of what has been termed “relational art”.
Larrea’s work strikes a careful balance between its formal grounds, which maintains its own poetics, privileging the use of primary colours and geometric compositions; and its content, which is committed to thinking about the social function of the artist, favouring a notion of art practice as collaboration and team work, and questioning the management and production mechanisms of art in advanced societies.