Bodies entangled in boredom, in a constant game of power and modesty.

Fragility is exposed in a stumbling dance that denounces vices – through the production of organic sounds and the indecision between dressing and undressing.

Untitled# .1981 offers sexual apathy to a voyeur audience.

Since the genesis of this piece is the work Centerfolds by Cindy Sherman, the relationship between both is less formalistic, or sharing a visual dimension, rather seeking to build the backbone of the piece in the meanders of the concept of photography. A relationship that accentuates the complicity with what Hal Foster understands as self-monitoring female subjects, who, immersed in the dynamics of the show, interrupt themselves, and pose revealing the accentuated vulnerability of those who observe - I am not who I thought I was. In this sense, the proposal of psychological alienation that is implied in the expression of Sherman's female figures is above all the portrait of the rift between the real and the imagined. A confrontation that denounces the non-coincidence between worlds: what is imposed by the fashion industries, and what opposes it - the effective, the lived. In this sense, Sherman's photography is understood less by the solemn moment of freezing an instant that results in an image, but essentially by the performative attitude that underlies it. An attitude that intends to be extended beyond the central pages, reconnected with lived experience, with the present moment. A proposal that, rescuing its intention, seeks to detach itself from the circumscribed immobility of photography and that if something different is done, it is integrally built on performance. A proposal that wants to diverge, frees itself from its referent.