14 mannequins with white cotton covers, flat tops, round bases (diameter 30 cm.) and poles (height 114 cm.); stainless steel finishes. Japanese golden metallic thread, natural silk fabrics, needles and golden thread. site specific _ variable dimensions
chrome ceramic gold color, (25 x 17 x 7 cm.), thread and lace fabric site specific _ variable dimensions
metal, glass, paper and surgical instruments video installation (loop 12’ 55’’) _ variable dimensions
Beautifying pain by NEREA UBIETO
Bodies. Moulded bodies, defined, classified, standardised, cut to the same pattern: medical, political, social, religious. Disciplined bodies, restricted, subjugated, corseted in fixed forms in which they do not recognise themselves. Inappropriate bodies, pathologised, exposed, deviant, judged, oppressed, abused. Surrendered bodies, frustrated and sick.
But also: different bodies, malleable, chaotic, inhabiting the outskirts. Free bodies, protesting, dissident; collectivities that struggle to find their place outside hegemony. Bodies that overflow, shout, resist, manifest, heal their wounds, and rise from their ashes. Bodies that grow sideways, forge alliances, and turn their vulnerability into strength.
Suturing means joining the margins by CRISTIANA TEJO
This text was originally written in Brazilian Portuguese, my mother tongue. To think in a language is to bring all the historical and philosophical experience that it embodies. But thinking in a language of European origin is also a testament to a long colonial process of knowledge. As Anibal Quijano and Boaventura de Sousa Santos taught us, the coloniality of knowledge goes beyond the colonial period. It is a way of organizing and stratifying the world that is premised on the superiority of the European way of thinking. This process of hierarchization encompasses even the internal differences in Europe, because although Portuguese is the sixth most spoken language in the world, it is subordinate to the languages spoken in hegemonic countries. I could have written this text in English, but for some years I have been reflecting on the issues of decoloniality and how I can contemplate it from a perspective of coloniality in Portuguese and its semi-peripheral position. It is from this place that I write this text.
Vanishing categories by BLANCA DE LA TORRE
It is hard to tame the beast without the complicity of those who feed it, although an effective alternative might be to resist beyond the reach of its guardians, in the space provided by certain artistic practices. Resistance is also a matter of developing alternative poetics from different angles, through a bifocal lens: one that corresponds to the act of creating itself and at the same time to the very superstructures we are seeking to resist, if you will forgive the entelechy.
Romina Rivero's approach to categories, which runs through her work (resistance, the social, power, freedom, otherness), walks that line, which I will sketch here through certain key figures. In turn, both these figures and Rivero's work offer us certain constants to guide us through an interpretation of our current moment in time.
14 mannequins with white cotton covers, flat tops, round bases (diameter 30 cm.) and poles (height 114 cm.); stainless steel finishes. Japanese golden metallic
thread, natural silk fabrics, needles and golden thread. Site specific _ variable dimensions.
FLOWER OF THORNS, 2020
chrome ceramic gold color, (25 x 17 x 7 cm.), thread and lace fabric
site specific _ variable dimensions
metal, glass, paper and surgical instruments
video installation (loop 12’ 55’’) _ variable dimensions