wrong evaluation, as this judgment pigeonholes the work into a single specialty. Even if performance is a means of representation in which I have had the interest to work by using my body as the medium or with the support of volunteers to carry out an activity related to a particular context, it must be said that I also make use of other languages. I consider myself a multi-disciplinary artist, I do not like specialties, neither am I interested in associations. My work is related with my ideas and with the setting in which I am going to develop it. On the other hand, those who write the history of art have an obsession for grouping and labeling different proposals and whole artists’ generations in single sacks, but most of the times this categorization tends to be limited and exclusive. The media and methods the creator uses to represent and idea, in no case whatsoever can define the profile of his work. I consider that in order to analyze an artist’s proposal in depth and the behavior of a set of works, it is necessary to look at it from different perspectives and into each and every one of its edges. If we consider the premise that art is also a way of knowledge, then we must analyze it the same way, with all the complexities that any language implies. There are many experiences which have influenced my work in a decisive way. The first of them was to take part in an artists’ collective when I was a student at La Esmeralda school. Due to the educational deficiencies which that institution was going through at the time, and to several of its teachers’ narrow vision in focusing the visual arts only upon the more traditional representation media such as painting, sculpture and etching, by then six students of the career and I organized ourselves to create the group 19 Concreto.2 Our aim was to undertake new projects outside the academy which were related
with languages that until that moment were more alternative. In the beginning we organized ourselves to prepare some performance exercises and later we worked with other representation media such as installation. We looked for the adequate spaces outside the university and took part in art festivals in order to gain experience into these new disciplines. I would say that in an intuitive and organized way we learned how to develop projects of this nature in order to bring them about in different sites. This activity allowed us to obtain an early ripeness in our training as students. The group remained active for about seven years (1990-1996); all the members had already finished our studies, so that was the moment to close a chapter and to start working each one of us in our personal works. Ever since I began my career individually, I have had the luck and the opportunity to be invited to travel and show my work in other cities of the world. By the passing of time, this kind of experiences have meant a feedback for my working processes, and have helped me to look at the context of my country with a different focus from the one I formerly had. When having received an invitation to participate in some performance festival, I generally ask the organizers to schedule me at the very last day of activities; this allows me to permeate myself with the site before planning my work. Under these conditions, sometimes I have very little time to prepare certain work, but this situation also helps me to generate more ideas than if I start preparing it with months in advance. The attractive side of these experiences is that most of the events that we artists display in these places are held in the streets or in clandestine spaces. By being in contact with the city, with its architecture, its everyday atmosphere and with the people, it turns out more stimulating for 199