{"id":295906,"date":"2026-10-19T00:29:49","date_gmt":"2026-10-18T23:29:49","guid":{"rendered":"https:\/\/theprisma.co.uk\/?p=295906"},"modified":"2026-10-17T05:11:06","modified_gmt":"2026-10-17T04:11:06","slug":"pauline-batist-y-el-cuerpo-contra-la-tirania-de-la-optimizacion","status":"publish","type":"post","link":"https:\/\/theprisma.co.uk\/es\/2026\/10\/19\/pauline-batist-y-el-cuerpo-contra-la-tirania-de-la-optimizacion\/","title":{"rendered":"Pauline Batista: el cuerpo contra la tiran\u00eda de la optimizaci\u00f3n"},"content":{"rendered":"

Antes de su pr\u00f3xima exposici\u00f3n en Ciudad de M\u00e9xico, la artista multimedia nacida en R\u00edo, Pauline Batista,<\/strong> habla de su anterior muestra, \u201cMethylene Blue Dreams\u201d, y de c\u00f3mo su obra mezcla medicina, fantas\u00eda y la forma humana para desafiar nuestro constante impulso hacia la autooptimizaci\u00f3n.<\/em><\/p>\n

 <\/p>\n

\"\"
Pauline Batista. Portaretrato de Yulia Lebedeva.<\/figcaption><\/figure>\n

Clelia Reka Frondaroli<\/strong><\/span><\/p>\n

 <\/p>\n

Un frasco de azul de metileno permanece suspendido en una caja de hojalata, colocado sobre un fondo blanco y austero. Otras formas y esculturas llenan el espacio expositivo: un banco de sala de espera, un modelo de \u00f3rgano; todas ellas, formas humanas y no humanas que est\u00e1n a punto de resultar a la vez reconocibles e indiscernibles para el p\u00fablico.<\/p>\n

Esta es la obra m\u00e1s reciente de la artista nacida en R\u00edo Pauline Batista, exhibida en Somers Gallery (un espacio de proyectos dedicado a destacar el arte latinoamericano) el pasado verano.<\/p>\n

Tras haber pasado varios a\u00f1os formativos en Estados Unidos, Berl\u00edn y ahora Londres, la artista brasile\u00f1a se ha labrado un nombre con obras de arte multimedia que combinan ideas del cuerpo con la tecnolog\u00eda, la maquinaria y el \u00e1mbito m\u00e9dico.<\/p>\n

La idea de \u201cMethylene Blue Dreams\u201d, nombre tomado de un compuesto m\u00e9dico sint\u00e9tico, se le ocurri\u00f3 a Batista hace unos seis a\u00f1os. En aquel entonces, la sustancia solo pod\u00eda encontrarse f\u00e1cilmente como producto qu\u00edmico para limpiar acuarios o como colorante m\u00e9dico. Desde entonces, y en particular durante los \u00faltimos dos a\u00f1os, el t\u00e9rmino ha empezado a reaparecer: esta vez, utilizado por la industria del bienestar.<\/p>\n

Batista explica: \u201cEllos [la industria] dicen que si tomas suplementos de azul de metileno, tu funci\u00f3n cognitiva ser\u00e1 mejor, no tendr\u00e1s niebla mental, tu memoria se potenciar\u00e1, y as\u00ed sucesivamente\u201d.<\/p>\n

La reaparici\u00f3n del t\u00e9rmino en el discurso en l\u00ednea llev\u00f3 a la artista, de 38 a\u00f1os, a creer que era el \u201cmomento adecuado\u201d para empezar a desarrollar m\u00e1s su exposici\u00f3n, reuniendo piezas a lo largo de ocho meses.<\/p>\n

\"\"<\/em>Y el resultado es una mezcla de objetos \u201chumanos\u201d reconocibles con elementos no humanos, fant\u00e1sticos y de ciencia ficci\u00f3n.<\/p>\n

Sobre un banco de sala de espera descansa un \u00f3rgano del que emerge un tent\u00e1culo; algunos espectadores lo perciben como un cerebro y otros, como un est\u00f3mago. Una sustancia negra similar al limo tambi\u00e9n aparece a lo largo de la muestra, sobre la que Batista escribe: \u201cMientras el azul de metileno busca revelar, el limo negro oculta y vuelve las formas cada vez m\u00e1s ilegibles\u201d.<\/p>\n

Sin embargo, mezclar la forma humana con elementos no humanos es un tema familiar para la artista multimedia, que reaparece una y otra vez en varias de sus obras.\u00a0Exposiciones anteriores, como \u201cIs Your System Optimized?\u201d y \u201cThe Algorithm Will See You Now\u201d, exploran ambas ideas de mejora f\u00edsica, a menudo hasta el punto de resultar perjudiciales para nosotros mismos. Cuando se le pregunta si su obra pretend\u00eda desafiar este constante impulso hacia la autooptimizaci\u00f3n, Batista se\u00f1ala que sus proyectos anteriores eran \u201cdefinitivamente\u201d cr\u00edticos con la tendencia.<\/p>\n

\"\"<\/em>Hace una pausa por un momento. \u201cParece una locura\u201d, dice, \u201cque, en lugar de arreglar el entorno en el que vivimos, ahora recaiga en cada individuo la responsabilidad de dar lo mejor de s\u00ed mismo, tomar todos estos suplementos, registrarlo todo y optimizar, optimizar, optimizar\u201d.<\/p>\n

La autooptimizaci\u00f3n, cree, es problem\u00e1tica en s\u00ed misma. En \u00faltima instancia, es inalcanzable para la mayor\u00eda, porque, como se\u00f1ala la artista, no existe una definici\u00f3n \u00fanica de \u201cbueno\u201d u \u201c\u00f3ptimo\u201d. A pesar de ello, su obra reciente adopta un enfoque m\u00e1s l\u00fadico, en el que quiere que el p\u00fablico encuentre alegr\u00eda, esperanza y quiz\u00e1 solo un poco de incomodidad en las obras que tiene delante.<\/p>\n

Volviendo al uso del cuerpo en su obra, Batista cree que al principio no fue del todo intencional. M\u00e1s bien, su arte puede haberse inspirado inconscientemente en sus propias experiencias vitales al lidiar con una enfermedad cr\u00f3nica.<\/p>\n

Explica: \u201cTiene sentido, porque gran parte del lenguaje visual que me ha rodeado desde que era ni\u00f1a ha estado vinculado a los hospitales y a los distintos tipos de maquinaria que entran en tu cuerpo o lo documentan.<\/p>\n

Y creo que fue una experiencia formativa que se filtr\u00f3 en mi pr\u00e1ctica\u201d.<\/p>\n

Pero la diferencia, se\u00f1ala, es que dentro del arte y de la pr\u00e1ctica art\u00edstica, el espectador tiene la libertad de cuestionar las cosas de maneras \u201cque no puedes hacer cuando eres paciente dentro del complejo m\u00e9dico-industrial\u201d.<\/p>\n

\"\"<\/em>Batista sabe que el cuerpo seguir\u00e1 desempe\u00f1ando un papel prominente en su obra. Pero ser\u00e1 la forma en que se represente lo que cambiar\u00e1. Explica con m\u00e1s detalle: \u201cCreo que el cuerpo se ha disuelto de alg\u00fan modo, incluso en esta exposici\u00f3n, y no s\u00e9 si volver\u00e1 a aparecer alguna vez como un todo\u201d.<\/p>\n

Pero incluso a trav\u00e9s de esta deconstrucci\u00f3n, la forma humana sigue siendo un anclaje central, abriendo nuevas puertas y nuevas direcciones para que su obra evolucione. Ahora, Batista se prepara para su residencia en el Vermont Studio Center, antes de su pr\u00f3xima exposici\u00f3n en Ciudad de M\u00e9xico en febrero de 2027.<\/p>\n

(Traducido por Camila Marquez) <\/strong>– Fotos facilitadas por la entrevistada.<\/em><\/span><\/p>\n

\"\"<\/em><\/p>\n

\"\"<\/em><\/p>\n

\"\"<\/em><\/p>\n

\n\t\t\t\t\tTweet<\/a>\n\t\t\t\t<\/div><\/div>","protected":false},"excerpt":{"rendered":"

Antes de su pr\u00f3xima exposici\u00f3n en Ciudad de M\u00e9xico, la artista multimedia nacida en R\u00edo, Pauline Batista, habla de su anterior muestra, \u201cMethylene Blue Dreams\u201d, y de c\u00f3mo su obra mezcla medicina, fantas\u00eda y la forma humana para desafiar nuestro constante impulso hacia la autooptimizaci\u00f3n.   Clelia Reka Frondaroli   […]<\/p>\n","protected":false},"author":9,"featured_media":295935,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[24,10,17,21,16,39,15],"tags":[],"class_list":["post-295906","post","type-post","status-publish","format-standard","has-post-thumbnail","category-cultura","category-globo","category-los-nuestros","category-migrantes","category-multicultura","category-plastica","category-reino-unido"],"yoast_head":"\nPauline Batista: el cuerpo contra la tiran\u00eda de la optimizaci\u00f3n - ThePrisma.co.uk<\/title>\n<meta name=\"robots\" content=\"index, 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