PARQUE Galería announces its participation in ARCOmadrid 2019 presenting the work of María Sosa and Yollotl Gómez Alvarado in the OPENING section — Booth 9OP20, curated by Ilaria Gianni and Tiago Pinto.
The Demands of Memory. Body, Landscape and the Intruder.
Gral. Juan Cano 5, San Miguel Chapultepec
11850 Ciudad de México, CDMX
February 2 – March 23, 2019
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PARQUE Galería presents The Demands of Memory. Body, Landscape and the Intruder, the second solo exhibition by Mexican artist Noe Martínez in the gallery.
Conceived in first person by the artist, the exhibition is composed of three chapters that explore events surrounding the slavery that took place between 1519 until the 17th century in the Huasteca region of Mexico. Cuerpo, paisaje and el intruso are the three moments that intertwine the exhibition space to account—through a non-linear narrative—of the excessive trade of people during the first years of the European invasion. Both, the exit of Huasteco natives and the entry of Africans from Cape Verde, Angola, Congo, and Mozambique, are unraveled as a story that was put away in the high sea of the Gulf of Mexico, the colonial documents, and the continuation of colonial relations in everyday life.
Cuerpo (Body) is a series of paintings made up of interventions in tanned leathers that allude to the exchange of human beings for pack animals and cattle in the Caribbean Sea. Paisaje (landscape) recovers—through analog photographs—the remains of the first years of European presence in the seashore of Veracruz—from La Antigua to the indigenous cemetery in Quiahuxtlan—, highlighting peculiar events that are revealed by traversing the space. El intruso (the intruder) is a reproduction of the irons used to brand slaves by the first traders in the Huasteca region, working as sculptural provocation.
Noe Martínez’ interest in the colonial history of the Gulf of Mexico comes from the investigation he made during the last years on the conclusion of the ancient indigenous world in his family history. This process has deepened given the epistemologies from the South that the artist has included into his production from a personal and critical dimension of the official histories.