While Smith had already incorporated the human body into live actions exploring the intersections of different media, this piece marks a change in scale. The intrinsic inefficiency of the system she chose to produce the work, along with the symbolic and historical weight of its spatial and visual elements, revisits the tension between chaos and modernity that characterizes Smith’s aesthetic interests.


MELANIE SMITH (1965)
RAFAEL ORTEGA (1962)
Estadio Azteca: Proeza maleable, 2010
Estadio Azteca: Malleable Deed
Video
10’ 30”
Gift of the artists, 2012