“Within Mendieta’s performance, however, something happened to the sign which changed its status as a static and contained mark. Mendieta’s clothed body began a slow and dramatic journey to the ground and, as she made her descent, her blood-soaked hands and arms were dragged down the surface of the paper as a visceral track of movement (fig.2). The arms moved down, leaving a corporeal trace, and the hands followed in a retracing of their action in what appeared to be a primitive and uncertain attempt at figuration. The finger marks journeyed through the tracks made by the arms and hands before them, voiding their status as an original trace, and in so doing this second trace re-presented and superimposed the first (fig.3). Mendieta went on to repeat this bloody gesture two more times before turning and walking out of the room, leaving her audience to contemplate three painted re-presentations of her body (figs.4–5).”


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