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In this film Mendieta makes track-like marks, trails of blood that drag from her forearms, drawing a downward movement like bloodshed which, when it ends, leaves the viewer staring at the remains of the action, transformed into performative text.
Ana Mendieta explores feminist body-politics in Body Tracks (1982). Drawing from the Afro-Cuban religion Santería, Mendieta uses animal blood and tempera paint to create imprints of her hands on white paper.
Untitled (Blood Sign #2/Body Tracks) (Sin título [Señal de sangre n.º 2/Huellas del cuerpo]) está estrechamente relacionada con otras acciones con sangre realizadas a principios de los años setenta, como las que registró en la intimidad de su propia casa, a modo de reflexión acerca de otras formas íntimas de violencia.
Likewise, _Blood Sign #2/Body Tracks_ (1974) also demonstrates the variability and intermediacy of Mendieta’s work in a quick, simple action with a complex, enduring effect. The video begins with Mendieta standing against a wall in a sacrificial manner with her arms extended up and outwards in a _V_.
By inscribing body shapes into nature, respectively into landscape, Ana Mendieta creates impressive, processual images striving for a synthesis of the individual with a greater whole. At the same time, her works visualize the unmediated artistic and gestural potential of the body.
Body Tracks (Rastros corporales) son marcas largas y borrosas hechas por las manos y los antebrazos de Ana Mendieta, cuando se deslizó por un pedazo grande de papel blanco durante una actuación principal con pulsante música cubana.
Body Tracks (1982) Film works (1971–1980) Film works released posthumously (1985–present) Solo exhibitions. Notable group exhibitions. Public collections (selection) Death and controversy. Legacy. See also. References. Further reading. Ana Mendieta. This article is about the Cuban-American performance artist.
