Ana Rebordão is creating Tableaus Vivants with herself both in front of and behind the camera. It says something about the position of the gaze.
The connection to art history is intended. The abyss between darkness and light and the emotional brutality creates a fold with the Baroque, as Gilles Deleuze would have it.
In the series Dentro, Rebordão is approaching the greatest phantasme (Kristeva) of them all, the Madonna.
We watch Rebordão being both blessed and crucified. We see her breaking the maybe biggest taboo of them all, sexualizing her pregnant body. We see her playing with one of the attributes of the Madonna, the milk. We see her breaking another taboo in showing the mother’s power over her child, which is Rebordão’s own daughter.
The solemn scenes break up through Rebordão´s sly sense of humour, when she makes the ladies act out in absurd occupations. Or when she feeds her child with a plastic water gun.
We see a contemporary artist dealing with motherhood. She insists in being both.
Filmed at Inter Arts Center. Sound by Kent Olofsson.