Abstract: This article explores notions of exposure in the work of Spanish artist La Ribot, more specifically looking at Another Bloody Mary. It addresses ideas of physical exposure, as well as exposure of ‘the traces of [a] false promise’, to use Rebecca Schneider’s terminology (1997, p. 52). Theatre’s false promise of pleasure is here examined through the use of the body, drawing on Sprinkle’s Post Porn Modernism. These two kinds of exposure are interrelated and discussed in terms of spectatorship.
Eirini Kartsaki writes and performs. She has presented her work nationally and internationally (Hayward Gallery, V&A, Arnolfini, Soho Theatre, Cambridge Junction, Whitechapel Gallery, Camden People’s Theatre, The Place, Biennale d’Art Contemporain de Lyon). Eirini has completed her doctoral thesis entitled ‘Repeat Repeat: Returns of Performance’ at Queen Mary, University of London. Her performance work, which is about and from the body, explores desire, gender and language and discovers through the physicality of movement and the repetitive storytelling that, ultimately, what we want is to want. Lyon, etc.) and has published in journals Activate, PerformArt and Choreographic Practices. Eirini is a Senior Lecturer in Drama in Anglia Ruskin University, Cambridge.