"The 3 pigs"

This book is about an interactive performance "The 3
pigs"- april 4,
2007 at 7pm
in the Laura Mesaros Gallery, Morgantown WV.
A dramatic parody
within the realm of conceptual art. Transplanting
the moral from a
traditional tale (The Three Little Pigs) to a
current world of politics
and iconized and institutional
ideas, The 3 Pigs questions definitions and ways
of acting. The
objective was to trigger the interactive process and
bring awareness
to alliances that attribute identities and provokes
fear towards the
other. The pigs-wolves situation and the gallery-
artist situation are
related to the U.S.-Mexico situation. Connected by
the idea for the
need for walls to protect them from a specific
interaction, fear
converts society, represented by the pigs and
audience members,
into the terrorists, the wolves.
The script treats fear as a major
ingredient for failure and an instrument for
political manipulation.
The other becomes the wolf, and the wall becomes
a symbol.
Separating the good ones (pigs) and the bad ones
(wolves), the
symbol acquires major importance.

Autorentext

Visual artist. She has lived and worked in rural communities in Mexico, the U.S, and The Netherlands. Using varied forms of art, her projects question social conditions, human behavior and art itself. In 2008, she receivedthe Innovative Electronic Theses and Dissertations Award for "The 3 Pigs".

Klappentext

This book is about an interactive performance "The 3 pigs"- april 4, 2007 at 7pm in the Laura Mesaros Gallery, Morgantown WV. A dramatic parody within the realm of conceptual art. Transplanting the moral from a traditional tale (The Three Little Pigs) to a current world of politics and iconized and institutional ideas, "The 3 Pigs" questions definitions and ways of acting. The objective was to trigger the interactive process and bring awareness to alliances that attribute identities and provokes fear towards the other. The pigs-wolves situation and the gallery-artist situation are related to the U.S.-Mexico situation. Connected by the idea for the need for "walls" to 'protect' them from a specific interaction, fear converts society, represented by the pigs and audience members, into the terrorists, the wolves. The script treats fear as a major ingredient for failure and an instrument for political manipulation. The "other" becomes the wolf, and the "wall" becomes a symbol. Separating the good ones (pigs) and the bad ones (wolves), the symbol acquires major importance.