Here is a struggle for vital space. In this video performance two women are on profile face to face. One of them starts blowing into a baloon which slowly takes up the shot. Then the oher woman starts doing the same, until the definitive ejection of one of them from the shot takes place.

Furió’s work opens up a wide range of readings and folds both in the formal and in the conceptual sense. The artist is interested in the video’s own linguistics as it shapes both light and time. She is also interested in the history of both film and video language, and at the same time is concerned with social and ideological issues that have to do with the woman’s body and with the construction of identity. From this stems her interest in feminist discourses and in the struggle of the disadvantaged.

This piece is on the one hand a metaphor for the struggle for a personal vital space, specifically the struggle between women, for a space of longed for solitude, for a territory from which to be able to think, a territory that has been so often transgressed and displaced. On another more concrete level, the piece takes part in the specific demand of the political platform Salvem el Cabanyal-Canyamelar, a group that aims to protect the artistic and historical patrimony of a coastal neighbourhood in Valencia, a village doomed to disappear with the urban restructuring project proposed by the Valencian Town Hall.

Furió’s work is indebted to conceptual art and the performance movements of the 1960s and 1970s. Hers is an original body of work within the Spanish art scene. Unlike other artistic practices of the 1990s that, like Furió, returned to the body and the video performance with a special interest in issues of gender, but who priviledged a certain aestheticism of form, the anecdote, kitsch or fiction, Furió’s work is more experimental and risky, lacking in superficiality. She concentrates the action that takes place, and lets space and time, the geometry and the light of compromise, speak for themselves.