She says she’s tired of seeing female bodies brutalized, tired of viewing them via the male gaze.
“This architecture wants to dominate you, and it feels very patriarchal,” Huanca says. “Working in this room, it felt like I was wrestling a giant. We’re surrounded by all these secret codes of power. I wanted to uproot that and reverse it, and that’s what I hope we did. This [artwork] has its own codes, its own language too.
Stationery is provided backstage, and they are encouraged to journal after each performance. The vibe is spa-like, Huanca says, because although the models are being paid to do this work, the experience should feel less transactional and more healing, peaceful and meditative. Even in the models’ absence — they appear only one of the four days a week the museum is open — the impressions of their bodies remain. Their footprints are visible in the sand, and colorful debris from their “costumes” peppers the sculpture island. They’ve also rubbed their blue-painted bodies against the gallery’s back wall, leaving a soft, messy smudge that will forever be a part of the Marciano’s DNA. The blue eventually will be painted over but never washed off.
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