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She and her newborn daughter are in a basement. A man leaning against the wall watches them. The camera approaches the mother and daughter in different ways, all of which alternatively kiss the object that observes them. At the end, the camera operator enters the frame, the author himself integrated in a family scene.
The mother displays her daughter to the camera and the potential audience, and she begins to breastfeed. This is an action that recalls the many historical paintings in which the Virgin appears with her son. The contrast between this production and its historical double (unsacred, in a basement, the protagonists dressed in the period's latest clothing, two possible fathers, the duplicity of the observer who is also part...) allows for an up-to-date reading of the artistic representation that brings it closer to the habitual domestic practice of the family album, although with a few perverse touches.
This historical rereading takes place in a changing social context: once the historical Transition between dictatorship and democracy has ended, there exists a need to provide culture with a new impetus in order to make it contemporary. This work is synchronized with the artistic explosion in Madrid that took place during those years. This period saw a true rebirth of representational art. It was a moment when new paradigms were established, largely thanks to the incorporation of new recording technologies and electronic reproduction. As a result, this familial self-portrait ends up being a scene that demonstrates the customs of the neo-family (given that, during this period, the prefix neo was applied to anything that one wanted to bring up-to-date or to wipe clean of the repressive past). On the other hand, the perversion is produced by the identification of those who are watching the scene. Two men observe; the tape's author, Pedro Garhel, and another disturbing figure that appears watchful yet separated from the action in the first moments. Who is he and what is he doing there?