15.07.2022
Through this section, monthly, we invite agents of the artistic system to share a selection of images related to their practice or current interests. Images are published daily in the header of our website and shared through our Instagram profile. At the end of the month, the complete selection of images is published together with a text that contextualizes them. Here is the selection of June 2022.
I am cringe but I am free
-a meme
I have been drawing for as long as I can remember. Children’s illustrated stories, La Jornada’s moneros, cartoons and comics have been part of my artistic training even before I decided to do it as a living.
I believe that drawing has the capacity to shape our understanding of the world much more than we give it credit for, because it is capable of developing in the imaginary things that do not exist or that we cannot imagine with words. I think it is a discipline that is perceived with suspicion because of the pedagogical use that is given to it, because it is too economic, too intelligible, scholarly, or maybe because it is too popular, and that is something that serious art cannot afford.
I have the feeling that next to illustrative drawing there is also the kitsch, the tenderness and the vulnerable sincerity of what today is called cringe.
When I was studying in the visual arts in university, I was warned not to illustrate because it was “bad art”, I kept my artistic projects, at that time very serious and formal, separate from my feminist work until I got tired of looking for the right path approved by the art lords and somehow, that interest in exploring the tenderness in drawing has led me to agree concepts or contradictions of artistic work without having to worry about doing it in the “correct” institutional way.
Through drawing and the different forms it takes, I ask myself questions about the daily violence experienced by feminized bodies, about the stress of the public space that makes tangible the racial and patriarchal violence on bodies by accommodating them within the urban space. And at the same time I try to build an imaginary where these feminized bodies are superimposed on this urban space and also on the affections alienated by capital, echoing queer feminist activisms and my everyday experiences.
From then on I have been involved in various peripheral artistic circuits that operate from the collective and have helped me to understand that there is not only the white cube Art World as pedagogically drawn by Pablo Helguera, plagued by exclusions, violations of labor rights and cronyism, but a much more complex ecosystem that obeys its own logic and in which I believe there is already an answer to those classist and exclusionary dynamics that are fashionable to question.
The selection I made for Marginalia #83 was a brief mapping of the work I have done in the last three years and that flows between the fanzine, text, illustration, animation, etc. and through which I try to make sense of what surrounds me.
I am currently thinking a lot about the exclusions exercised by activism or academia and the role of cities to deindigenize and social networks to dehistoricize people, and I would like to continue exploring all that through short texts, colorful drawings and zines.
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09.04.2024
Ongoing
Sandra Sánchez
03.04.2024
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