María Evelia Marmolejo

María Evelia Marmolejo (born 1958) is a Colombian radical feminist performance artist, later based in Madrid and New York City.

Marmolejo was born in Pradera, Colombia, in 1958.

Raised in a Catholic family with four brothers, from an early age she became displeased with the idea of machismo and her inferior role in a male-dominated society, which led her to express this frustration in future artworks such as "Tendidos".

As a child she took part in neighborhood theater classes and also participated in a theater workshop in art school, both largely influencing her passion for performing.

She found performance art suitable for her as it gave her an outlet to express her anger and distress towards her country's political turmoil at the time, as well as her own struggles with being a woman.

María Evelia Marmolejo studied art and obtained her B.F.A at La Universidad de Santiago de Cali, in Cali, Colombia, from 1978 to 1980, after realizing in previous years that studying law was not something that interested her.

"Anonimo 1" was a performance in recognition of the various innocent Colombian people that had suffered under the regime of the Colombian president at the time, Julio Cesar Turbay Ayala (1978–82).

The first part of the performance consisted of Marmolejo creating a walkway from a white paper and then proceeding to cutting her own feet and walking over the paper, while leaving blood stains.

In order to remain anonymous, she wore a white tunic, cap, and bandages over her face.

In the second part, Marmolejo cured her self-inflicted lesions and then continued to walk over the paper with bandaged feet until the twenty minutes that she had planned for the performance were up.

Maria Evelia Marmolejo intended to shock spectators into paying attention to the violence around them, to confront the various disappearances and murders, and to convince them of the great need to heal the pain that this violence had caused.

"Anonimo 1" also marked the beginning of her often utilizing self-harm as a technique to express herself in her performances and easily capture the attention of her audiences.

Here, she created her first installation for her final exam in 1979 titled "Tendidos", where she hung both used and unused pads from a clothing rack, which was hanging from a butchers hook.

This was her first use of blood, which she would go on to use in other works to speak on the violence going on in her country.

The piece as a whole was meant to protest the rape and torture of Colombian women by the Colombian army.

During her final drawing test at the school, she cut her index finger and used her blood to draw a line on posters, illustrating how Colombia's political violence was continuous, but not a straight line, and also expressing her belief that a drawing did not have to be made out of the traditional paper and pencil.

Consequently, she was failed out of art school when her professors did not accept either of the works.

Once Marmolejo left art school, she decided to concentrate on performance art, having been inspired by artists including Lygia Clark, Yeni and Nan, and Carlos Zerpa.

Her performances in the 1980s often included bodily fluids and infliction of injury to herself, in works responsive to political oppression in Colombia, the social conditions of women, the political context of women's bodies, and environmental issues.

She is credited by the Colombian scholar María Lovino with staging the first work of feminist performance art in Colombia, in 1981.

She is best known for discussing controversial themes such as political oppression, feminism, environment, and socioeconomic issues within her performances.

Her first performances span the years 1981-1985, after which there was an almost thirty-year period during which she rarely performed; she became publicly active again in 2013.

She has staged her performances at major institutions such as the Museum of Modern Art of Bogota, Museum of Modern Art Cartagena, and the Contemporary Art Museum Guayaquil, as well as in more secluded sites.

Marmolejo produced the majority of her performance art pieces between 1981 and 1985.

Her first performance titled "Anonimo 1" (Anonymous 1) took place in 1981 at the Plazoleta del Centro Administrativo Municipal in Cali, Colombia.

In 1982 Marmolejo produced her most famous and also most controversial performance titled "11 de Marzo."

She performed it at the Galeria San Diego, in Bogota, Colombia.

The performance consisted of her inducing her period, and was meant to celebrate it as a natural part of life rather than something to be ashamed of.

Marmolejo arranged paper on the floor in an L shape and walked naked over it so that her blood would drip on it, all while playing flushing sounds in the background.

The majority of her body was covered in pads, and she also danced while rubbing her pubic area against the paper and the walls.

This performance was a way for her to express a part of her that had always been looked down upon by society, as well as a way to free herself and finally accept the natural functions of her body.

It was seen as very rebellious as she turned a part of womanhood that was traditionally seen as a weakness, and an attribute contributing to a woman's presumed inferiority, and turned it into a strength.

Marmolejo also produced "Anonimo 3", which spoke on the need to focus on the environment.

This was a private 15-minute performance that occurred near the Cauca River in Colombia, meant as a sort of apology for all of the pollution that humanity had created on earth, as was represented by the river.

In this performance, Marmolejo covered herself in gauze and performed a healing ritual where she gave herself a vaginal washing meant to fertilize the ground and get rid of the pollution.

Marmolejo self-exiled to Madrid in 1985.

She is currently based in New York City.

Marmolejo also studied video and television at the Centro de Estudios de la Imagen in Madrid, Spain in 1986.

Furthermore, she went on to obtain her Master of the Arts and Humanities from The City University of New York in New York, New York in 2008.

Marmolejo's works deal with themes of gender, colonialism, and political oppression in Colombia.