"THE POST-POST-FEMINIST"
Performances since 2004:

Currently I'm working in recent feminist thought, to analyze and dissect male ideas of appropriation of feminist strategies, and other forms of cultural control (for instance, the term "post-feminist" by Dan Cameron in 1987, seeks to establish the "end of feminism" in art production of women); by the use of recent surveillance technologies, I seek to amplify the divisions that still exist in the world as a whole. In this phase I use several references to "radical" male performances from the seventies, to confront their obvious patriarchal roots.

"ME & THE OTHER"
Perfomances between 08-2001 and 2003:

In this phase of my work I'm considering how the recent surveillance technologies are providing a different gaze into the other people, how we are driven to fear and distrust the "other". I' m taking a deeper look into the way I interact with the "other", but contrasting the prevailing "post-human" technovision with a range of postmodern (critical) feminist thought. The "other" here is both my "significant other", i.e. women, as well as the whole world, excluding myself.
In some performances from this period, I have confronted directly the audience members, often establishing a one-to-one relationship with them, even to the extreme of performing to one person at a time ("Malá Strana 0"). In some works, confronting the other was done in a subtle manner, e.g. perceiving the time as the "other" does ("De Sola Sol"). Often, the "other" is perceived through the mediation of technology, this feature is explored in its fullest in performances which make use of the internet as its main site: "Atlas Alexandrovitch S7D4C4" and "I'm (still) afraid of (some) Americans" are good examples of this strategy, they are performed virtually. Some post-modern feminist cultural writers (Moira Roth, Peggy Phelan, Amelia Jones) have influenced my approach and analysis, as well as my methods and the questioning of my own rationality and validity as a male non-white performance artist.

"SIGNIFICANT OTHER & MYTH"
Perfomances between 2000 & 07-2001:

In this stage, I explored the process of creation of myths in an urban cultural setting, and how this influences the creation of our own personas.
During the period, I also investigate the relationship with my mythic heros in literature, Jorge Luis Borges ("borgesderokha") and Sylvia Plath ("Lady Lazarus"). One of the most important works in this period is the first one in which I analyze my perception of women, from the general to the particular, "About a Girl" (dedicated to Camila Schliebener, my significant other). This performance critiques the construction of a fake personality in women, influenced by the urban environment surrounding a teenager.
The myth issue is explored in "Dollhouse", where I re-created the method of a serial killer, and elaborates on the status of "crime as stardom" in society. It is also investigated in "2001: a space oddity", where I make connections between an street-level myth, the so-called "Toynbee plates", with Zoroaster, Kubrick and Arnold J. Toynbee. It was also a period where I used to relate to and / or analyze my ideas in a particular relation to different artistic media: books, movies and music.

"CITY MAP"
Perfomances between 1997 and 1999:

This phase of my work is comprised of some central issues as geography, history and their political implications. Some works consider the way our memories are remapping the emotional knowledge of the cities we inhabit. In "Lua Cheia", and "Sonata Porteña" two different cities (Santiago and Valparaíso) are presented emotionally to the audience. In "InLoMem", love memorabilia are analyzed in relation to hidden places for love encounters in a city. In "9", a particular space / time is linked to another site / time through the process of making a wish.
Some other works link places / people to the critique of political conceptions, as well as other notions. In particular, at the "Citizen Conspiracy" series, some global values are under scrutiny.
There is also a special interest in the process of history, and how that process is controlled by men, excluding women from most of it. In "whereisperformanceart" / "dondeestaelartedeperformance", such process is analyzed in an urban environment, in the particular case of performance art history. In such performances, a collaboration with Martha Wilson (founder of Franklin Furnace, New York) and Mary Beth Edelson, introduced me with the contemporary feminist thought, which is to become extremely relevant in later stages.

"THISISNOTAMERICA"
Perfomances between 1993 and 1996:

The initial phase of my work consists of two different stages; first the initiation, exploring main issues as time, space, the soul, motherhood, culture; then, the process of communication becomes the main issue.
"This is not América", my first performance in the U.S., shifts the focus to the analysis of the dynamic building of a nation, through their heros and villains.
In the next performances, the central issue will become the process of communication between human beings; "Lost & Found" and "Peace, Love & Empathy" establish an invisible connection between people who haven't actually met.
This stage ends with a special performance, as a homage to the most influential performance artist from my early years: James Lee Byars (who died shortly after). In "13: in search of the Angel" / "13: en busca del Angel", his presence is perceived and transferred to some audience many miles apart.