Entrenamiento is one of the most conceptual and ironic pieces of Larrea, with a black & white aesthetics referencing the video performances of the late 60s and 70s. On screen Larrea presents a so-called “resistance” or “pain” performance, whereby the border between irony and the true purposes of the piece are blurred. The piece can thus be interpreted on different levels.
The artist is in an old fashioned room, in the style of a bourgeois house, wearing sports clothes. She performs an exercise routine, sitting on a sit-up bench next to a piano. Simultaneously, she plays a musical score of the piano.
It is inevitable when watching this piece to think about notions such as the artist’s education and the idea of “sacrifice”, of fully dedicating oneself to one’s vocation, involved in the acquisition of knowledge and skills. On the other hand, the piece encourages us to compare the high level of social recognition awarded to the musician’s education, with the difficulty that society displays in accepting the working processes of the contemporary visual artist, who is attributed neither effort nor discipline; not even within the old model: that of the “genius”, patiently awaiting inspiration, nor within the current model of the “art producer”, who, according to the man in the street, swings to the rhythm of trends and the market, instead of those of work and true research.
This piece also contains autobiographical references that provide the execution of the action with great strength: Larrea received for sixteen years a strict musical education, which she parodies correlating the daily practice with the tortuous sit-up exercise routine.
Larrea’s work revolves around practices of reflection on the creative act and its contemporary transformations. She aims to dismantle certain categories, such as the “self-sufficient author”, or the “genius”, and relate these to the current “art agents”, not without a good dose of irony in relation to both of these extremes. Her work evidences an interest in art in its social context, she prefers collective or collaboration art, as well as those practices that open up debates and rifts within the dominant monolithic discourses.