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Yoo cua nuniri / Autosuficiencia

Parallel Oaxaca, Oaxaca, México
October 26, 2019 – December 10, 2019

Edith Morales’ installation Yoo cua Nuniri / Self-sufficiency expands data as a critical illustration on how the bio-cultural traditional knowledge of native corn from Oaxaca, Mexico is currently exposed to a corporation-led extraction steered by transnational bio-chemical industry altering agricultural and territory laws.  Her installation at Parallel builds an observatory where counting and decoding information from the typologies of corn in Oaxaca, augments the visualization of a symbolic variety that enunciates and prevails the productive activity as a notion of life. When seeds are understood as the protagonists for the future, its value is registered as carriers of bio-cultural knowledge, as well as a network of relationships and movements of an ancient genetic geography.

Edith Morales’ works with communities in the state of Oaxaca to investigate the sovereignty and diversity of native corn species and the dangers they encounter due to the dismantling policies carried out by biotechnology and the capitalist production system.

The Milpa is an integral system. It comprehends the combination of corn, squash, beans, chili, tomato and medicinal crops planted together where they benefit each other from the mutualism between the species, generating its own mode of development. In a community all life is inside, there are no accidents, except for the external irruptions of the capitalist system; programs and policies that alter and destroy its system.  

Bio-capitalism in the productive sector intervenes in natural processes and compromises a transformation of millenary cycles of production for the benefit of monopolies, concessions and governments.  In Yoo cua Nuniri / Self-sufficiency the artist challenges a linear reading of information through a sculptural arrangement, articulating a drawing as a grid that classifies the heights and varieties of corn collected in Oaxaca. The graphical and volumetric materialization, situates the logic of diversity as composition and form, as well as data stimulates spatial and temporal qualities, which can be read as pages with the potential to become fields and a composition for self-sufficiency.

Edith Morales’s (Oaxaca, 1968) work has been exhibited at Museo de Arte Contemporáneo de Oaxaca MACO; Washington & Lee University; Staniar Gallery, Lexington, VA, U.S.; San Diego Mesa College Art Gallery, San Diego Californa U.S.; Fredonia University, Reed Library, Fredonia, New York, U.S.; Shinzaburo Takedan Gallery, Fine Arts School, Oaxaca;  Museo de Artes Populares, Mexico City.; Social and Public Art Resource Center SPARC, Los Ángeles CA. U.S.; Héctor García, Gallery Mexico City; Museo de los Pintores Oaxaqueños, Oaxaca; Natural History Museum, Mexico City; Manuel Álvarez Bravo Photographic Centre, Oaxaca; Lansing University Michigan, U.S.; Centro de Las Artes San Agustín, Oaxaca among others. 

She is a contributor to The space in defense of the native corn of Oaxaca.


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