English
FRAGRANT BODIES. AN INTERVIEW WITH KAROLA BRAGA
To truly comprehend and appreciate my work, one must be physically present, engaging with it through their bodies. Its essence depends on our presence. Yes, it will dissipate, and yes, it will evade capture, but that is precisely the point.
EDGAR CALEL: B’ALAB’ÄJ (JAGUAR STONE) [PIEDRA DEL JAGUAR]
By recovering collective processes of meaning-making linked to the place of belonging, the exhibition calls for the persistence of a present that reverses the neoliberal logic of economic concentration and hyper-individualism. Instead, it offers the possibility of thinking about that shared place where one listens to what cannot be seen with the eyes.
OSCAR SANTILLÁN: A HEAVY HALO
Oscar Santillan’s exhibition A Heavy Halo extends several points of enquiry to think about the ways we entangle the artificial and the organic in light of urgent ecological changes for sustainable interspecies futures.
ZAHY TENTEHAR. MÁQUINA ANCESTRAL: UREIPY
Throughout her video practice, Tentehar has spoken about the Guajajara social movement known as the Guardians of the Forest, a group that inhabits and protects Arariboia Indigenous Land located in the north-eastern edge of the Amazon rainforest.
LIZANIA CRUZ: INFLUENTIAL SITES
Lizania Cruz fills the gallery with “evidence” of the whitewashing efforts of the Dominican state, which has long employed anti-Black and anti-Haitian rhetoric to erase centuries of multi-racial and working-class resistance to its pattern of authoritarianism and US-intervention.
LIDO PIMIENTA: THE FABRIC. THE ANGER. THE RIVER
Lido Pimienta’s work explores the politics of gender, race, motherhood, identity, and the construction of the Canadian socio-political landscape in the Latin American and vernacular diaspora, always inseparable from her own experience.
THE PARADOXICAL INTERNATIONALIZATION OF “PROVINCIAL ART”. BEATRIZ GONZÁLEZ: A RETROSPECTIVE
Countering a slowly changing mainstream museum and gallery trend in the United States which has traditionally viewed Latin American art as derivative or exotic, an underlying thread of this exhibition highlights González’s contribution to the history of 20th-Century art, while dispelling the misconception of González’s work as part of the international pop art movement, in favor of more “nuanced practice in relation to the context from which it emerged.”
SANDRA MONTERROSO: THE HEALING PARADOX
Monterroso, an artist with Maya Q’eqchi’ roots, focuses her attention this time on more modest materials. Leftover fabrics from a local rug factory and organic cotton and linen embellished with embroidery and neon lights effectively become a compelling locus where discussions about healing wounds within a complex postcolonial heritage occur.
POOR PEOPLE’S ART: A (SHORT) VISUAL HISTORY OF POVERTY IN THE UNITED STATES
Dr. Martin Luther King Jr. lead “The Poor People’s Campaign”, a multicultural, multi-faith, multi-racial movement aimed at uniting poor people and their allies to demand an end to poverty and inequality. This exhibition represents a visual response to Dr. King’s “last great dream” as well as Reverend Barber’s recent “National Call for Moral Revival.”