Stunt Meanings in Action: Beatriz Olabarrieta for Mousse

In a soccer game, the ball puts all elements into relation with one another; it triggers laws and actions around it that become meaningful only when played.1 Similarly, the elements in Beatriz Olabarrieta’s multimedia installations exist only in relation with the whole. Perhaps influenced by her early involvement in the tradition of “poor theater,” her productions materialize not as static objects, but as sequences in which the works perform unrevealed scripts.

Olabarrieta’s rejection of literal narratives—possibly an automatic reaction to her education in philosophy—has led to making up her own semiotics and using automated movements as meaning generators. Motion is a decisive aspect in her practice—the motion involved in writing, in the passage of time, or in the observation of an artwork, which emphasizes the works’ inherent feeling of progression.

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