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Background Information

Employment History



Paris Update



Spanish Artist




Web References (14 Total References)

There are some, though not many, ... [cached]

There are some, though not many, classics, like Esther Ferrer, cofounder of ZAJ in the 1960s, represented with Euro-portrait (2004); Antoni Muntadas, a pioneer of conceptual art, with On translation: Stand By (2006); the designer América Sánchez, with an Untitled collage and an Untitled photo, both from 1985; the eternal travel companion Luis Pérez Mínguez, with Madera de ébano, from 1986; or Rafael Agredano, painter from the 1980s, with Mar de sangre(Steam Light Suit series), from 2000.

IAPAO :: international association of performance art organisers [cached]

Esther Ferrer IAPAO :: international association of performance art organisers

Esther Ferrer
Esther Ferrer was born in San Sebastián, Spain, in 1937 and has lived in Paris for the last twenty years. Esther Ferrer is best known for her performances, which have been her principal form of artistic expression since 1967, both as a soloist and as a member of the group ZAJ. Her work has always been oriented to ephemeral artistic action rather than to permanent artistic production.
Esther Ferrer has performed throughout Europe (Yugoslavia, Poland, Germany, Italy, France, Suitzerland, Hungry, Slovaquia, U.K., Spain, Denmark, etc.), as well as in Cuba, the United States, Japan and Korea. The performance continue to be her principal activity, though she has done many shows in museums such as, Fundacion Miro (Barcelona-Spain), Centro de Arte Reina Sofía (Madrid - Spain), Museum of
Esther Ferrer: Theory and Practice, 2001
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4T fluXus - 40 ans de mouvement - 10+10+10+10=40 [cached]

Esther FERRER, Artist of the ZAJ Group, Spain "Performer sous Franco, de l'érosion de l'éternel par l'éphémère" Vytautas LANDSBERGIS, Fluxus Artist, Musicologist, Ex-president of Lithuania "Contacts and Perception of Fluxus in Lithuania Beyond the Iron Curtain and Under Soviet Captive Mind System"

Esther Ferrer: Face B. ... [cached]

Esther Ferrer: Face B. Image/Autoportrait Paris Update - Esther Ferrer: Face B. Image/Autoportrait

Esther Ferrer: Face B. Image/Autoportrait
"Tête Pliée" (2002), from the series "Le Livre des Têtes," by Esther Ferrer.
"Face B. Image/Autoportrait" is an interesting and funny exhibition of edited photographs, videos and sculptures by Spanish artist Esther Ferrer at MAC/VAL (Musée d'Art Contempor- ain du Val-de-Marne).
The exhibition is about identity; it's a "self-portrait. We are, in part, what we do. Ferrer is identified with the forms she's made, which are identified with the content, which is identified with a constructed subject. This subject is vain, divided, compulsive, frightened, playful, ironic and ironized, infinitely regressive.
The subject is vain primarily because she meticulously (and insightfully) criticizes herself. There's vanity in meticulous self-criticism: she draws herself, studies herself, films herself, builds sculptures about herself, photographs herself and edits pictures of herself. She builds a mirror with which she can try on all the various pairs of glasses (lenses, ways of seeing the world) that she has accumulated over the years; the glasses are attached to the mirror by long chains ("Regarde-moi ou Regarde-toi avec d'Autres Yeux," 1987). She covers four walls of a huge space with objects whose only common feature is their close relation to herself. She makes a kind of ridiculous shrine to herself.
Divided because of the number and degree of differences between the various depictions. We move from one of Ferrer burning some substance in a bowl to one of her wearing a blue cabbage as a hat ("Les Choses," version 2011) to one of her performing a set of silly facial expressions. She's not identical with any one lens attached to the mirror; she's just the structure that (temporarily) holds them all together. She's framed in multiple ways, perhaps by others. One image of her hangs from a string noose. Another is made into the jewel of a necklace.
Compulsive because of the way she cuts up and reassembles images of herself from different
Paris Update MacVal 16.Esther-Ferrer
"Tête Pliée" (2002), from the series "Le Livre des Têtes," by Esther Ferrer.
points in time (ranging from 1981 to 2014) and meticulously individuates and measures different parts of her body with a tape measure ("Actions Corporelles," 2013). In the face of time's chaotic impositions, the compulsion is for order and control, a compulsion at once urgently expressed and mocked.
Frightened, first because the artist is dying an exposed death, obsessively foreshadowed by a set of photographs of her aging body and by two videos of her performing similar tasks with a 38-year interlude in between. But Ferrer also seems frightened of being consumed by various external objects as though they were illnesses. In one photograph, she has wild eyes and a credit card for a tongue ("Autoportrait," 2013); in another, she vomits up an alphabet ("Sans Titre," 2011). Fear seems to grow from the realization that she's the servant - not the master - of money and language.
Playful because she produces silly images for fun. A plunger stuck on her head. Multicolored cabbage hats, which somehow possess their own pair of the subject's eyes. A hilarious, grotesque snout made of duplications of her own face ("Métamorphose [ou L'Evolution]," 2005). Multicolored pubic hair - the label calls it the source of all good and evil, as if the distinction is derided, transcended and then replaced by humor.
Yet Ferrer is the self-conscious subject of her work. For every thought, there is another that stands in a relation of ironic detachment to it. In a sequence of self-portraits called "Auto-
Paris Update MacVal 17.Esther-Ferrer
"Tête Pliée" (2002), from the series "Le Livre des Têtes," by Esther Ferrer.
Esther Ferrer: Face B. Image/Autoportrait


Esther Ferrer (AT)

Name:Esther Ferrer
Esther Ferrer (San Sebastián, 1937) joined the Zaj group (founded in 1964 by Madridian musician Ramón Barce, Canarian artist Juan Hidalgo, and Italian Walter Marchetti) in 1967.
Esther Ferrer carried out her first performance in 1967, and since then that ephemeral practice has become the leitmotif of her work.
For Ferrer the performer is not an actor, but an element that executes an action, and what happens in a performance is real. It is evidence of materiality and moves away from any illusionist game. At the same time the artist tries to transmit a consciousness of the passing of time: Time, Space (which includes mental space) and Presence (hers and everyone's) are elements that manipulate her actions in which she usually incorporates everyday objects: hammers, watches, tables, chairs, frames, threads, ropes, shoes, etc.

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