© Elvira Santamaría-Torres, Salt Cartographies, 2018. 7a11d International Festival of Performance Art. Photo Henry Chan.
b. 1967, Mexico/ Ireland
Elvira Santamaría-Torres completed a Masters’s degree in Visual Arts at the University of Ulster in Belfast. Her work focuses on public actions, process art, installation and performance. She is currently based in both Northern Ireland and Mexico.
In 1994, Santamaría-Torres obtained the First award of the 3rd X-Teresa, The Month of Performance Art and in the same year was invited to participate in the Rencontre Internationale d’art performance de Québec. Since then, she has presented her work in festivals, art centres, galleries, museums and public spaces in Mexico, Europe, North America, Asia and Latin America. Her most recent public projects include Parábolas de Desalojo y Procesos de Regeneración, 2013-2016 (Mexico and various Latin American countries); Salt Cartographies in MACO (Oaxaca, Mexico, 2015), Sur Gallery (Toronto, 2018) and Golden Thread Gallery (Belfast, 2022).
In 2013, Santamaría-Torres was postulated to the Artraker, Awarding Creativity in Art and Conflict in London and was part of the juror for the 2014 award. She is a member of Black Market International, a performance art group. She has organised several events such as the annual International Performance Art Encounter in Yucatán, 2002-2006; InterSER0 I |& II, International Action Art Encounter at the Carrillo Gil Art Museum, 2009, and Humanism in process: Female Performance Artist at Work 1 & 2, 2019.
Santamaría-Torres conducts workshops and conferences in art centres, universities and museums in Mexico and abroad. She is an actual Member of the National System of Art Creators FONCA–Secretaria de Cultura and Flax Art Studios in Belfast.
A Score of Scores
In this series, 10 artists perform the interpretation of a performance score, written for them by an artist of their own choosing.
10 artists. 10 score writers.
A score is an old term for 20.
A score of scores.
Everyday life words in progress’s over-the-shoulder perspective and discourse with objects
Everyday life words in progress’s hybrid, process-oriented structure offers a useful model for considering some basic questions related to performance art methods, dialogues, and audience expectations, particularly around using the artist’s body as a “material” in an artwork, and how this can differ from traditional performing arts approaches.
Article by Paul Couillard