María Patiño recalls her arrest in Seville

The ‘Ni que fuéramos’ host admitted to being arrested for a law violation.

María Patiño shared a previously unknown story from her past. Ni que fueramos’ presenter confessed live that she was arrested by Seville police for a traffic violation years ago.

A company with Terelu Campos as sole administrator has entered a bad debt file for an alleged 150-euro debt, which Canal Quickie addressed. Kiko Matamoros says that if a creditor sues, “the police normally locate you, and Terelu can be notified at the Telecinco facilities”.

The collaborator recalled receiving many judicial notifications at Mediaset during Sálvame. The police would deliver the notice. “They searched for me five times at Telecinco,” he says.

Matamoros recalls being taken off the chain and taken “under arrest” to court by agents. They notified me, but I ignored it. They had me sign the notification in court. Then I won without going to trial, he said.

After her partner’s story, María Patiño revealed that authorities searched Mediaset España for her. “You’re scared,” the journalist acknowledged, then recounted her police encounter.

“I was arrested for not carrying my ID,” the presenter said, detailing the incident. Her account says it happened on Seville’s Paseo de La Palmera. “I ran a red light when I was young. I went through after saying ‘there are no cars’ Police asked for my ID, which I didn’t have. Patiño stated that she was taken to the police station, identified, and returned home, but was not fined as the individual was involved later.

Performance art is art created by the artist or others through actions. Live or recorded, spontaneously developed or written, it is traditionally presented to the public in a fine art context in an interdisciplinary manner.[1] Over time, artistic action has developed into a genre of live art. It was crucial to 20th-century avant-garde art.[2][3]

Time, space, body, artist presence, and creator-public relationship are involved. The actions, usually developed in art galleries and museums, can happen in the street, anywhere, and at any time.[4] It seeks to evoke a response through improvisation and aesthetics. Common themes include the artist’s life experiences, denunciation or social criticism, and transformation.[5]

Performance in visual arts dates back to futurist productions and cabarets from the 1910s, but “performance art” and “performance” became popular in the 1970s.[6]Art critic and performance artist John Perreault credits Marjorie Strider with coining the term in 1969.Notable performance art pioneers include Carolee Schneemann, Marina Abramović, Ana Mendieta, Chris Burden, Hermann Nitsch, Joseph Beuys, Nam June Paik, Tehching Hsieh, Yves Klein, and Vito Acconci [7-11].[12] Recent prominent figures include Tania Bruguera, Abel Azcona, Regina José Galindo, Marta Minujín, Melati Suryodarmo, and Petr Pavlensky. The discipline is linked to Fluxus, Viennese Actionism, body art, and conceptual art “events”.[17]

Performance art is controversially defined and contextualised historically and pedagogically. The term’s polysemic meaning and connection to the scenic arts are drawbacks. This definition of performance in the scenic arts context is different from performance art, which was critical and antagonistic to scenic arts. Not all performance art pieces include the audience and present body, which are only partially related to scenic arts.[22]

The term’s narrower meaning is related to Western postmodernism. Performance art, influenced by Antonin Artaud, Dada, the Situationists, Fluxus, installation art, and conceptual art, challenged theatre and cultural norms from the mid-1960s to the 1970s. Ideal was a one-time, authentic experience for performer and audience that could not be repeated, captured, or purchased.[23] Performance art presentations can be interpreted differently due to the widely discussed difference between visual and performing arts.[22]

Performance art is usually reserved for conceptual art that conveys a content-based meaning in a drama-related sense, not just entertainment. It usually refers to a performance that is presented to an audience but does not attempt to be a theatrical play, linear narrative, or scripted interaction of fictitious characters. It can include action or spoken word as a communication between artist and audience, or ignore audience expectations instead of following a script.

Some performance art is similar to performing arts. Such performance may use a script or create a fictitious dramatic setting, but it is still performance art because it intentionally satirises or transcends the real-world dynamics used in conventional theatrical plays.

Performance artists often challenge the audience to think differently, break traditional art conventions, and challenge “what art is” Performance art can be satirical, use robots and machines as performers, ritualised, or borrow elements of dance, music, and circus as long as the performer does not repeat a role. It may intersect with architecture.

Artists like the Viennese Actionists and neo-Dadaists prefer to call their performances “live art”, “action art”, “actions”, “intervention” (see art intervention), or “manoeuvre”. Body art, fluxus-performance, happening, action poetry, and intermedia are performance art genres.

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