Cécile Ibarra is an artist and performer currently based in Brussels. She holds an MA in Visual Arts from the Université Rennes 2, as well as a BEP (Brevet d'etudes professionnelles) diploma in needlecraft. Her practice encompasses installations, sculpture, video and performance. Previous exhibitions include Berlin, UK and group shows at the Art Centre of Lublin and the Cultural House Młodzieżowy (Lublin, Poland).
Her artistic practice revolves around effort, with an attention to a daily performance of ritual and activities. In this direct confrontation, the oscillation between authority and servitude brings to light the inner workings of obligations, restrictions, and social codes.
Sabotage is “a deliberate action aimed at weakening another entity through subversion, obstruction, disruption, or destruction. In a workplace setting, sabotage is the conscious withdrawal of efficiency generally directed at causing some change in workplace conditions. One who engages in sabotage is a saboteur. As a rule, saboteurs try to conceal their identities because of the consequences of their actions.”
This act is intended to damage or destroy intentionally equipment, facilities to take etymologically the word “sabot” (wooden shoe) itself. Indeed, the sabotage took more expansion for several centuries already, through the use of machinery to sabotage that produce faster and better than ordinary workers. It is thus, according to some sources, derived from the very action of workers in wooden shoes that blocked the system of industrial machines by throwing their sabots into the wooden gears of the textile looms to break the cogs. Although this source is not verifiable, it still remains that it has served as a pretext for developing this project, with the difference that here the hooves become valuable and useful tools by pair of shears fixed under them in order to cut the grass.
Sabotage itself became my principle of manufacture. In the context of my home, I found myself personally involved in this report to sabotage, either at my place of work, in my personal life, emotional. Having been sabotaged myself in my project, it became evident that I too would become saboteur but in aesthetic sense.
The video shooted entirely in Bains Connective, refers to a sociological work of Michel Crozier • (concerning the audio part of my artwork) that the hierarchy of power in business is not what one believes, and often the technicians superiority on executives, managers see, because of their technical knowledge and their power to sabotage anytime they want. In connection with the video, an installation, 20m² of lawn areas to cut by a punch likes a puzzle. An irrigation system watering the lawn in real time using a timer and interact with video, the mechanism itself is sabotaged, and watering is done intermittently.
The video installation takes a living dimension, as in the presentation in its materiality. Before the opening show the grass was watered daily in order not to deteriorate, so it has new shoots in places, also it has blown in some others.
• A quoi sert la sociologie des organisations?, Paris, Arslan, 2000.