16.05.2016 - 25.07.2016
The glare that a shadow can emit is evident in recent Latin American history, a history notoriously scored by oppression, violence, disappearances, and other painful secrets tossed into the gray areas of memory and to the margins of hegemonic historical accounts.
In the shadow, you’re protected by the invisibility of marginalization—at the same time you’re made vulnerable by a lack of guarantees brought about through the neglect of the dominant power. The shadows that move through us are the constant reminder of what never changes: long-standing oppression and discrimination, perpetuated all around us in a political climate of abuse and tough luck.
As we name them, draw their contours and seek to resolve their enigmas, we ask ourselves to what real end do we use artistic thought to gain awareness of those shadows? Can something change? Or are those ideas mere shadow play?
6
2016
Malachi Farrel & Fernando Palma Rodríguez, "Coyotl huan occecoyotl". Digital drawing, 2014.
6 2016
01.01.1970
Issue 6: Shadows
Susana Vargas Cervantes
Susana Vargas Cervantes looks at the work of artists Zach Blas, Colectivo Zunga, Santiago Sierra and Erick Meyenberg through the concept of pigmentocracy.
6 2016
01.01.1970
Issue 6: Shadows
Amilcar Packer
Amilcar Packer tells the story of Como_clube in Sao Paulo, a mutant platform for artistic creation and an environment of undisciplined living which favors free movement between genres, generations, political and socioeconomic situations, fostering performance-related productions.
6 2016
30.05.2016
Issue 6: Shadows
Las Nietas de Nonó, Sofía Gallisá Muriente
Puerto Rican artists Sofia Gallisá and las Nietas de Nonó discuss their approach to the prison system in Puerto Rico and the cycle of poverty and racial and class discrimination that feeds it.
6 2016
01.06.2016
Issue 6: Shadows
Guillaume Désanges
Guillaume Désanges talks about his experience developing the Méthode Room residency project at Archive House, within Theaster Gates’ Dorchester Project in South Side in Chicago.
6 2016
01.06.2016
Issue 6: Shadows
Bárbara Santos
Colombian artist Bárbara Santos gives an account of the making of the book Los Jaguares del Yuruparí (2015), which presents the outcome of more than 10 years of research conducted by indigenous young people from the communities of Pira-Parana in the Colombian Amazon -under the guidance of the traditional knowledge of their elders- on cultural and sacred knowledge related to the territory and its management.
6 2016
01.06.2016
Issue 6: Shadows
Oliver Martínez-Kandt
El curador mexicano Oliver Martínez Kandt habla con los artistas nicaragüenses Raúl Quintanilla, Patricia Belli, Fredman Barahona, Darling López y Alejandro de la Guerra sobre su relación con las urgencias sociales, ecológicas y culturales de su contexto.
6 2016
18.07.2016
Issue 6: Shadows
Nick Vaughan & Jake Margolin, Dorothée Dupuis
Dorothée Dupuis habla con los artistas Nick Vaughan and Jake Margolin sobre su práctica colaborativa y su vida en el Midwest, desde una perspectiva queer y feminista.
6 2016
01.08.2016
Issue 6: Shadows
William Contreras Alfonso
William Contreras Alfonso considera la producción reciente de los artistas contemporáneos colombianos Fernando Uhía, Claudia Salamanca y Ana María Millán y su tratamiento de
imágenes y archivos que han sido invisibilizados por los medios masivos.
6 2016
01.08.2016
Issue 6: Shadows
Teresa Riccardi, Alicia Herrero
Alicia Herrero talks with curator Teresa Riccardi about the appropriation of the language of corporate capitalism in Herrero’s practice, used to denounce the oppressive role this exercises in the regulation of social life.
6 2016
01.08.2016
Issue 6: Shadows
Franco Lolli, Natalia Valencia
Franco Lolli y Natalia Valencia discuten sobre los problemas de discriminación de clase de la sociedad colombiana contemporánea y cómo éstos fueron retratados en el largometraje Gente de Bien (2014) dirigido por Lolli.
6 2016
01.10.2016
Issue 6: Shadows
Fernando Palma, Malacchi Farrell
Malachi Farrell and Fernando Palma talk about indigenous cosmologies of North America, the political climate in Mexico and other influences in the artistic work of Fernando Palma.