21st, 22nd & 23th May, 2015 / 19:00h

Valie Export breaks into a porn cinema in 1969 showing her pubic triangle frightening the onlookers shotgun in hand. Marina Abramovic claims the action in 2005 and gives the publicity given by the Guggenheim in New York with a sophisticated machine gun. Public response in the first action was to flee. In the second one they where brought to the liturgy. Regina goes further in its dual review of Valie and Marina and she shows herself as a transvestite who shows a plastic male sex. She also carries a machine gun. That’s how she wants to be at this time and that is how she has to defend herself. She seems a man dressed as a woman pretending to be a man. In any case, it is her own business.

The action of Regina is complex. She is sitting in a chair on a dais. Behind her a video documenting the action of Abramovic and with pictures of Valie projects. And against Regina’s another great projection where the whole action is shown as being developed at that time. Tomoto, bold video artist that accompanies Regina films whatever happens and throws it to the screen, shoot again and constantly feeds. The visitor is on the screen, along with Valie, Abramovic and Regina, watching the previous visitors which in turn watched the screen. The screen swallows everything that is happening and places it on the network. The visitor is on YouTube before leaving the exhibition. Not only you become a voyeur, but also a context. YOU-ARE-NOT-AT-A-RANGE. Regina would like to present her action on the street but the nude remains a taboo, even if plastic-made.

Concept + performance: Regina Fiz