The work of Acerina Ramos Amador – Philosophical and aesthetical identity – Case study -

“extranos placeres repito extranos placeres”...

Acerina Amador, making use of the form and language of contemporary dance establishes a
bridge between contemporary philosophy and their classic aproach not only through the detailed
study of the transversal themes of the history of philosophy but also through their criticism and
subversion, generating a structure of thought based on , political and cultural paradigms on genre,
defying them in the body, on the expression and in herself. This text tries to define as briefly as
possible her singularity, term that we choose instead of identity because it adapts better to the artists
opinion.
We are submiting a video where the artist works the questions of obcession, emotional need
and submission, polarizing emotionaly the role of the woman as symbol of love on diversified
components but mainly emphasizing the struggle of it's role in society, pushing in symbolic terms to
the ideals of beauty that transport us through their familiarity and prejudice but projecting them in a
contemporary format wich precisely questions them and manages to subvert them through the
proposal of several universes with non-antagonic values where we traditionally oppose them;
Reason and emotion, spirit and matter, diferença and identity.
In the work “Placeres extraños repito placeres extraños” are patent the guiding lines of her
thought. The answer to the platonic beauty of the Symposium is debated on it's common
appearances, through the angle of obcesiveness, solo, in a monologue of body, movement and
words. They express the importance of beauty in the patent authority of the female body and it's
accessories, languid movements and direct verbal expressions to love. But they also express,
becoming clear, a theoretical tirany, a prejudice of genre present in the same elements. This
prejudice tosses the woman againts time. A woman that in it's function of beauty is tiranized by the
image projected in her and that she must project in herself. The relation between the philosophical
question of opposites, moral and aesthetic dualisms is the ingredient of wich is made the conceptual
prison where we perpetually toss ourselves and what is even worse, where we position ourselves
taking part in disputes wich, in the flow of conflict, produce an entropy wich stigmatizes and
divides the society under the flag of a poisoned peace.
The project of Acerina Amador, places the being, isolated and in conflict with itself, because
of (pre)concepts, with the emotions it has to forge, pointing through metaphor and exageration to
the diference and relation inherent to the ontology of things manifestated in the contemporary spirit
and methods of it´s dance in wich the body doesn´t move from position, where verticality looses it's
dynamic structure and where the voice is associated and takes part.
As the body changes it's verticality falls the cloth that covers it and it is exposed. But it's not
an idea, it doesn't resume to an unchangeable ideal, it's instead the product of a conscient
inevitability of the being to it's sexuality. It doesn't have an essence because it alters all the time in a
way that you can't turn back, in each position it assumes a singularity wich is one of her critical
objectives. The contemporary critique so enters the sphere of philosophy through art and vice-versa
as it understands that the relation turns possible the freedom from the above mentioned concepts.
We take as relation here, the diferent perspective aroused by the woman in revolt who doesn't cease
fsearching a love, no longer ideal but real, conditioned, compromised, efective, not predicated nor
predicable beacause it lives in a singularity, in a time and space incessingly changing wich don't
comply with the definitory unanimity of a whole, universal, imposed even if only conventionally.
So, beauty is no longer a stereotyped weapon shooting on ourselves involuntarily but the actual
pacifying diference. It´s no longer the opposite of ugly, or it's complement, beacuse it connects with
the objects around her without chock or addition. The subject of beauty looks for pacification within
himself searching a consensual answer to the fundamental questions wich are philosophy.