by Regina de Con Cossío
After a hold in art happenings it felt refreshing to reactivate the imaginary with the controversial settings proposed by Bárbara Sánchez-Kane (Mérida, Yucatán, 1987). This first contact happened touring Otrx Mundx at Museo Tamayo From the multiple voices, Sánchez-Kane resonated to trigger our search.
Her interdisciplinary practice swings between art and fashion, although the aesthetic approach to beauty makes justice to both. It has nothing to do with conventional beauty nor with classic values. On the contrary, her narrative is open to antithetical concepts of beauty and accept fear, ugliness, bisexuality, savageness, brutality, fusion and our darkest side towards transfiguration.
For embodiying her concept, deconstruction was needed. Canceling the essence of the Macho by adding it´s radical opponent, feelings, the “Sentimental Macho” emerges as a human race free to express without suppression_ an ode to impulse.
A diversity of formats comprises and sistematizes her repertoire. From performances; through painting, installations, poetry and runaways, to sculpture and fashion .
Art meets fashion there and now in an excentric pictorial and material universe. Prototypes taken out of their moldes, breaking codes. Males and females indisctinvely dressed in leather, or pastel schiffon. Falic vaginas and a feminate phalluses converge in a photo collage. Hedonistic pleasure enhanced with metal; food, eggshells, orange cheese, leftovers, signalizing the acceptance of excess. Shoes, boots and sandals mix genders and disorient their function. At last we are left before a fashion brand allowing to wear inconsistencies.
Such versatily displays all at once within a very contemporary accounts for Sánchez-Kane’s action in today’s art world. Her freedom of scope is what has taken her beyond the most obsolete conventions.