Marcela Torres brings into action performance, objects, workshops, and sound installation that investigate the interpellation of our diaspora. Torres has performed at the Museum of Contemporary Art Chicago & Three Walls Gallery (Chicago, IL) Performances is Alive (Miami, FL), Fringe Festival (Detroit, MI), Itinerant Festival (NYC, NY), Virtual International Exchange (Boston, MA), Experimental Actions (Houston, TX) Time Based Arts (Portland, Oregon). Torres has exhibited work at the Flatlands Gallery (Houston TX), Fosdick Nelson Gallery at Alfred University, Green Gallery at Yale School of Art (New Haven, CT), Tropical Contemporary (Eugene, OR). Recent events include a residency at The Lightbox (Detroit, MI) and an exhibition at the Petzel Gallery (NYC, NY).


Artist Statement

Recently I have been calling myself a social strategist as a term to describe how I bring performance, objects, workshops, organizing, and sound installations into an experiential interrogation of social structures. I want to demonstrate how we are interpellated by governmental, racial, and socio-economic dynamics, which cause a disenfranchise ways of living. Through these interdisciplinary forms of interrogation, I perform shifting roles such as arts administrator, organizer, martial artist, sound producer, teaching artist, cigar roller; I flex between strategic positions to avoid being absorbed into the borg. These varied methodologies, roles, and mediums create multiple yields: complex representations of identities and their struggles; reflections of systems at play internally, locally, and globally; and tactics for unpacking the goliath nature of history. In recent work, I have used martial arts technical training to speak towards the nature of violence. Violence as a systematic  phenomenon that creates constant moments of experienced aggression for people of color, in a physical, economic and emotional level. These historical aggression of disefranchinezing people of color, create contemporary situation of inter-racial competition, neighborhood segreations and fighting. I embody the position of a fighter—changing my body and putting myself at risk to have a viewpoint situated inside precarity. From this physical position I create sound objects, movement scores and text that become a multiplicity of counter attacks, strike or yells or durational moments that identify the feelings of being marginalized. In creating durational experiences that ask audiences to commit their own energy and time—a commitment that if sustained would bring actual social change—I am interested in doing something that forges a sticky, intensive more honest representations of black and brown life.