Tuesday, 9 September 2008


The Cast!

The Play!

scenes from the play

artist Esther Planas, gallerist Javier Perez, Milena Muzquiz and Jeppe Laursen from Junior Senior

Milena Muzquiz between Casia Tabatini and Liliana Sanguino

curator Carmen Julia and artist Stefan Bruggemann

curator Mathieu Copeland and artist Fia Backstrom

Rodman Primack and Susanne Oberbeck

the pig

The Centre for Aesthetics and Pablo Leon de la Barra present Situation #1:

a new play by Milena Muzquiz
Monday, September 8, 2008, 9 PM
Bistrotheque, 23-27 Wadeson Street, London E2

A voice narrates in darkness:

“I just couldn’t come up with anything, every time something came into my mind it opened a door and walked out. Every step penetrating particles of dust casting shadows on empty bottles and tangled webs. Then after a long day tossing and turning in bed I decided to go into the kitchen to heat up a small piece of chicken I had in the refrigerator. Finally, a woman walked into a restaurant, she had very high heels on and you could hear her footsteps, she wore a strange hat that decorated her head. She seemed nervous, but found a friend to sit with, and immediately started talking to him...”

Lights on.

Milena Muzquiz
Richard Battye
Alexis Marguerite Teplin
Rudy Weissenberg
Esther Planas
Noah Sherwood
David Waddington
Sra. Licia
and a special appearance by Susanne Oberbeck

Milena Muzquiz lives between Los Angeles, Rome and Palermo. She is one half of music/art collaboration Los Super Elegantes, with whom she exhibited in the 2004 Whitney Biennial, and created the Slow Dance Club as part of the Frieze Art Fair 2004 Art Project Commissions curated by Polly Staple. Individually she also develops her own art, music and fashion label. Her work, a meta collage of forms, formats and references, portrays and deconstructs contemporary culture, aesthetic relations and human existence. With Los Super Elegantes she will participate in the next Sao Paulo Biennial curated by Ivo Mesquita.

Without a permanent physical space, the Centre for the Aesthetic Revolution creates exhibitions and situations in different cities and places, which engage with artistic production and public in non traditional ways. The Centre appears and disappears, it is everywhere and nowhere at the same time.

Special thanks to the cast, Bistrotheque, David Waddington, Tom Collins, Liverpool Biennal, Esther Planas, Giles Deacon, Graceby Fashion Kingsland Road, and George and Dragon Pub.

This is what the public said:

"Spectacular! Samuel Beckett meets Augusto Boal, theathre of the absurd meets theatre of the oppressed!"

"What was it all about? it was like being inside the eye of a hurricane, hurricane Milena!"

"This is the beginning of the aesthetic revolution!"

"David Waddington as the pig carver and Rudy Weissenberg as the barman are in the best roles of their career!"

"you can clearly see the influence of living in Italy in her work, there's all the elements of greek and roman drama there"

"Great Feminist Cast: Milena Muzquiz, Esther Planas, Alexis Teplin and Susanne Oberbeck!"

"Only Milena Muzquiz and Pablo Leon de la Barra together could pull one like this!"

"Milena Muzquiz has achieved a theoretical impossibility—a play in which nothing happens, that yet keeps audiences glued to their seats. What's more, since the second act is a subtly different reprise of the first, she has written a play in which nothing happens, twice."

"Passolini meets Mary Poppins; Martha Stewart meets Herman Nitsch"

"Was it an abstract drama or a disco musical?"

"This is the last time I'll go to any of Miss Muzquiz performances."

"Three thumbs up"

1 comment:

  1. totally revolutionary!
    surely Aesquilus would have
    love it...
    And Aristophanes too!
    was really inspiring
    to work with Milena
    she is a genius woman!
    for me was like in the
    late 70's when we will
    go crazy with Pedro Almodovar
    before he became huge and his
    boyfriend muse Fabio McNamara
    and all the comic illustrators
    and transsexuals like Ocaña etc
    because in this times we where
    on a Revolution too.
    The piece felt like surrealism meeting
    theater of absurd with pre-socrates
    roots of tragedy and comedy....
    it was great to be part of it!