Tiempo de lectura: 2 minutos
10.10.2017
Commonwealth & Council, Los Angeles, California, USA
9 de septiembre de 2017 – 21 de octubre de 2017
El hambre como maestra/Hunger as Teacher is part of Carolina Caycedo’s ongoing project Be Dammed in which she collaborates with riverside populations in various bio-regions to address the socio-environmental impacts of dams. While engaged in fieldwork and research, Caycedo gathers objects, film footage, and testimonies. She also produces drawings, collages, sculptures, and films that document and expand on these experiences. These elements form the basis of an investigation into the devastating ramifications of development as understood through the stories of those affected and their resistance.
Caycedo challenges the separation of the human and the natural, especially in highlighting correlations between the environmental crisis and the persistence of oppression. The human toll of both is a particular concern—close to 185 environmental activists were killed in 2016, amongst them Berta Caceres from Honduras and Nilce de Souza ‘Nicinha’ from Brazil. These women are memorialized through a collective portrait, with water protectors Zoila Ninco from Colombia and Raimunda Silva from Brazil who continue this fight. Fishing nets collected during fieldwork refer to the survival of indigenous traditions and the impact of modernity, and also serve as an homage to these women. When asked who had taught her to fish, Raimunda answered, “Hunger taught me to fish.”
This inherent bodily connection to water runs through the exhibition. The drawing Dam Knot Anus (2016) refers to an interview with Kogui indigenous spiritual leader Mamo Pedro Juan, who passed away last June, in which he described a dam as cutting off the connection between bodies of water and communities, like a knot in the veins, or, still worse, a knot in the anus. Also on view is the intrauterine device previously used as a contraceptive by Caycedo and subsequently removed in the process of “undamming” her own body, now transformed into a sculptural relic.
For this exhibition, Caycedo returns to Los Angeles and its own long-standing struggles with water and the power structures that direct its flow. A folktale written by the artist about the Colorado River is here illustrated and translated into Korean and Spanish. This is one of a series of river folktales by the artist—another effort to redirect and rewrite the history of water.
compartir:
23.03.2024
Opinión
Duen Neka’hen Sacchi
En medio de la crisis ética que atravesamos en nuestra región y el mundo entero, expuestos como testigxs del fortalecimiento de la brutalización y la crueldad como elementos que sostienen las democracias fascistas; el curador y artista Duen Neka’hen Sacchi nos comparte su urgente reflexión sobre el contexto argentino.
22.03.2024
Marginalia
La Revuelta
Invitamos a La Revuelta, un espacio, un hogar, un punto de encuentros radicales donde el horizonte de la vida se pone al margen de lo sensible desde el contexto del arte contemporáneo en la ciudad de Guatemala. Cristina, Maya, Fernanda, Jimena, Francis y Vekis comparten con nosotres el marginalia 98.
08.03.2024
Opinión
María Galindo
Aprovecho para pasarte esta bibliografía para el próximo curso sobre feminismo que dictaré en cualquier recinto, esquina, librería, casa autogestionaria o barrio.
29.02.2024
Reportes
Ana Clara Simões Lopes
Con 121 artistas de Colombia, Perú, Venezuela, Ecuador, Bolivia, Guyana, Guayana Francesa, Surinam y Brasil, bajo el título Bubuia: las aguas como fuente de imaginaciones y deseos, se llevó a cabo la primer edición de la Bienal de las Amazonas, misma que contó con la curaduría del colectivo de mujeres Sapukai -que en tupí significa canto, clamor o grito- integrado por Sandra Benites, ex curadora de arte indígena del MASP; Keyna Eleison, curadora y exdirectora artística del Museo de Arte Moderno de Río de Janeiro; Vânia Leal, curadora independiente; y Flavya Mutra, artista e investigadora.
Comentarios
No hay comentarios disponibles.