Monterrey, Mexico, 1976

Eugenia Martínez

Eugenia’s artistic research places the visual, not only as a support for the sensitive, but also at the center of the same critical thinking about the cultural constitution of society. Issues of gender, racism, classism, are the main themes that Martínez approaches from a dialectical strategy; as a plastic resource that alludes to an organic composition, close to the drawing stroke, and as a tool of enunciation. In this sense, the old photographs, anonymous and rescued, operate in the body of the artist’s work as social traces of cultural practices and symbols that, when intervened with phrases, invoke the ghosts of prejudice that manifest themselves before the image and the word.

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