Female Performance Artist at Work 2

  performance art




Mónica Mayer

Mon 6 – Thur 10

“A culture is not an abstract thing. It is a living, evolving process. The aim is to push beyond the standard-setting and asserting human rights to make those standards a living reality for people everywhere” Mary Robinson 

The Clothesline. MUAC Mexico City 2016. Image Mónica Mayer

Humanism in process: female performance artists at work, addresses issues of feminism and art, promoting visibility of inequalities and strategies to address these situations, creating openness, awareness and supporting women’s wellbeing through performance art. It demonstrates how performance art has been and is a contemporary art form that suits the needs of actual human diversity and expressions of freedom. 

The overall project includes invited artists Mónica Mayer (Mexico), Denys Blacker (Spain) Sandra Johnston, Jayne Cherry(NI), and SARC artists (Sonic Art Research Centre) Una Lee (NI based) and Paula Guzzanti (Arg/NI).

The first part of this project was specifically dated to coincide with International Women’s Day, in March, where  we had a workshop hosted by Denys Blacker, a Roundtable Discussions at Ulster University, Workshop Presentations and solo Performances at Flax Art Studios and a Performance Monthly Meeting as part of the International Women’s Day Rally the 9th of March.

Part 2:

This, as the first second part of this project, is the first stage of an ongoing development to explore the possibilities of creativity and connectivity through performance art and new social connections. This project aims to bring women from diverse backgrounds who have in the past had these feelings and to come together through facilitated performance art workshops and talks to make art, connections with themselves and each other and to feed into the further development of the project as it moves forward. There will be Roundtable discussions where participants and professionals in the intersecting fields (social care, activists, art  academics) come together to discuss the issues, discuss the role of art and culture and social connections for women emerging from difficult circumstances in order to re-connect to themselves, each other. 

Artists: Mónica Mayer (México), Jayne Cherry(NI),

Speakers: Dr. Cherry Chérie Driver, Siobhan Craig, Bronagh Lawson, Cony Ortiz and the artists

Curated and organised by Elvira Santamaría

Mónica Mayer  Street action

Mayer’s project El Tendedero/The Clothesline Project is an important example of how her work transforms the clothesline, a traditionally feminine object, into a tool designed to engage the community and facilitate a dialogue around women’s experience with violence—including topics such as sexual harassment, domestic violence, and trafficking.

Mayer has implemented El Tendedero/The Clothesline Project in various museums and communities throughout Mexico, South America, and the United States, asking women from different economic classes, ages, and professions to respond to an elaborated statement between the workshop participants, for instance, “As a woman, what I dislike most about my city is…” Participants write their responses on small pink ballots, which are then hung on a clothesline. The site-specific installation documents the project’s results by using content created through community outreach, inviting visitors to add their voices and experiences to El Tendedero, or clothesline. 

In 1978, Mónica Mayer presented El Tendedero (The Clothesline), an installation at the Museum of Modern Art in Mexico City. 

The piece consisted on inviting women of different ages, occupations and neighborhoods to respond to the phrase As a woman, what I dislike the most of the city is: in small pink slips which were placed on a 3 x 2 meter clothesline.   

Most answers denounced sexual harassment in the street and public transport. 

Over the years El Tendedero has appeared many times, in different communities, responding to issues on violence against women. 

In recent versions, Mónica starts by giving a lecture open to the general public in which she talks about her work since the seventies which contextualizes her work and that of other feminist artists in Mexico. 


The workshop consists on: 

a) Mayer shares information on specific iterations of the Clothesline and opens a discussion on political art. 

b) She facilitates activities for participants to share their experiences of violence with the purpose of defining the specific questions that are appropriate in that context for the new Clothesline. 

c) Artists and activists participating in the workshop are invited to share their work and propose new individual or collective pieces. 

d) The group goes out to the places they determine to get answers from people in public spaces, universities, etc. and mounts them on the structure. 

e) Final group session to evaluate the process and the project.   

Thur 9 – Action on the Street “ The Clothesline” andFinal group session to evaluate the process and the project from noon onwards.

 At the end of the workshop, participation certificates will be granted

Cost:3-days workshop, £60, including lunch 

Event contact: Bbeyond
Web: bbeyond.live
Email: bbeyond@europe.com Facebook:BBEYOND.PerformanceArt Mobile: 07968643871 


Mónica Mayer (Mexico)

Mónica Mayer, The clothesline Project, National Museum of Women in the Arts. Image Courtesy of Monica Mayer

Mónica Mayer (Mexico, 1954) has developed an integral focus in her work that, in addition to performance, drawing and interventions, considers writing, teaching and community participation as part of her artistic production. She is considered a pioneer in feminist art, performance and digital graphics in Mexico. In 1983 she founded the group Polvo de Gallina Negra (Black Hen’s Powder) with Maris Bustamante, and in 1989, with Víctor Lerma initiated the project Pinto mi Raya (I Mark My Limits) of which the central element is a specialised archive of periodical clippings that has constituted the basis of diverse artistic proposals. Mayer has published several books, including Rosa chillante: mujeres y in various journals both in Mexico and abroad. She is a member of the Sistema Nacional de Creadores (National System of Creators). In 2016 she had a major retrospective exhibition at the Museo Universitario Arte Contemporáneo (MUAC) in Mexico City titled When in doubt….ask: a retrocollective exhibit.   

Jayne Cherry (NI)

Cherry has been influenced and affected by her physical and emotional surroundings from a young age. Unpicking and reexamining how she considered trauma, grief, abuse and pain and how best to perceive and take back control, have been her main focus for making work. Graduating from Ulster University in 2011 was a culmination of many years studying the human condition as an artist, qualified nurse, organic farmer and garden designer. Collaborating with performance artists, glass sculptors and fibre craftspeople continue to draw out new lines of thought which result in work which she imbues with clues, to assist in early recognition of, avoidance of and healing from pain inflicted by others and the uncertainty and perpetual pain it causes .


Dr. Chérie Driver

Dr. Chérie Driver trained as a painter at Ulster and a Social Anthropologist at Queens University Belfast before completing her PhD on the ‘The writings of Griselda Pollock, Ireland, the ‘feminine’ and visual representation’ at Ulster in 2005. As a researcher she has worked on a number of collaborative research projects in the area of ‘art and its locations’ and specializing in art in contested spaces and art and documentation. Appointed Lecturer in art theory in 2010 Chérie teaches on Foundation, BA Hons Fine Art and the MFA Fine Art as well as supervising PhD Research Projects. Chérie was the Course Director for the BA Hons in Fine Art (2012 – 2016) and was the Chair of the Research Goverance Filter Committee in the Faculty of Art, Design and the Built Environment (2012 – 2018). Cherie curated the Catalyst Arts: Collective Histories of Northern Irish Art X which was the tenth instalment of Golden Thread Gallery’s Collective Histories of Northern Irish Art Series, a project that forms a significant archive of Northern Irish Art from 1945 to the present. She continues to lead the Catalyst Arts Archive Project.

Bronagh Lawson

1st Class degree in Textiles Fashion from Winchester School of Art,  Fulbright scholar at Parson’s New York. Thirteen years developing cross community cross border development programmes on Interfaces in Belfast including many women’s projects. Digital heroes’ award winner. Named European equality specialist for EU Equal programme. Currently collaborating on a six year Hydrangea project a Belfast Chicago looking at using contemporary art underpinned by art therapy that can change the dynamic of contentious spaces and the people who come in contact with it. Completing project based on visiting every church in Belfast for a service over a 10 year period. Previous chair of Women’s Tec and Belfast print workshop. Board member of Pssquared Gallery

Cony Ortiz (NI-Colombia)

Cony Ortiz was born in Bogota, Colombia; she is an enthusiastic, experienced artist and intercultural community arts facilitator, with extensive training in the arts, health and intercultural issues.

She also has:

  • A wide range of experience of working in the community sector
  • 21 years of involvement in community development work with all the diverse communities in Northern Ireland and Ireland. 
  • A good track record of facilitating her work with respect and understanding of the different issues faced by the different communities in N.I.
  • Extensive training in various aspects of the arts and intercultural communication 
  • Lectures at Queens University Spanish Language and Latin American issues to do with health and wellbeing  through arts, dance and games to second year medical students

She is always open to new situations, making them a learning experience and embraces working in group settings and connecting with others. 

Elvira Santamaría

Elvira Santamaría-Torres was born in 1967 in Mexico City. She studied at the Antigua Esmeralda and made her Master’s degree in Visual Arts at the University of Ulster, Belfast, Northern Ireland 2009. In 1992 participated in the First Month of Performance Art at the Museo Universitario del Chopo with the piece “Una noche sin dormir” (A sleepless night). In 1994 she won the First Prize of the 3rd Performance Art Competition of X-Teresa with the piece Donation for an igneous force. Since then, Santamaría has presented her work in festivals, art centres, galleries, museums and public spaces in Mexico, Europe, North America, Asia and Latin America.

From 1997 to 2000, she lived and worked in Dresden, Germany, participating in several events in other European cities. Since 2000 she is a member of the performance art group Black Market International. Upon her return to Mexico, she organised the Mexico-Japan Performance Art Encounter in Mexico City and Mérida. Since then she has organised and curated several events such as the annual International Performance Art Encounter in Yucatán 2002-2006; Actions on Route, Interventions in Mexico City 2001 and 2003; InterSER0, International Action Art Encounter at the Carrillo Gil Art Museum 2009. In 2007 produced the series “Urban Actions” in Bogotá, a decisive experience in his way of conceiving artistic action in public context. In 2013 was nominated for the First price at the ARTRAKER award, Awarding Creativity in Art and Conflict in London and, subsequently, she was invited to be jury of Artrakers 2014 award. Member of the National System of Art Creators, FONCA 2013 and 2018.