40 x 30 cm each
Stretching between San Pedro and the beach in Altata, Sinaloa, there is a 40 km road where there are three invisible borders controlled by rivalling armed groups. There is a price to pay for crossing these territories. This series of 21 photographs by Teresa Margolles, titled 40 Km , resemble snapshots of peaceful lands, but also bear witness to the reality lived by the local people in this area. Under the control of these groups, the inhabitants surrounding this stretch of road are unable to mobilize; they end up trapped in their original territory, constantly under threat of violence and death, turned into prisoners of a land they used to call their own. The landscape is strewn with altars, each one marking the site where someone was killed. There are more than sixty-five altars for men, women, and children. These names, dates, prayers, and tributes are almost lost in the green countryside, among crops of corn, tomatoes, and mango trees. In this work, Margolles introduces the viewer to the reality of death and violence, its proximity, and its madness. 40 Km marks an important moment in the artist’s career in which she left behind the explicitness of previous pieces that dealt with systemic violence in México. In this series the artist’s risk-taking is more nuanced; the photographed territories are dangerous not only to the populations that inhabit them, but to any outside witness, such as the artist, that might want to document them.
Teresa Margolles’s work examines the social causes and consequences of violence. For Margolles, the morgue as a symbol accurately reflects society, particularly that of her home country of México, where deaths caused by drug-related crimes, poverty, political crisis, and the government’s brutal military response have devastated entire communities. Margolles has developed a unique, restrained language in order to speak for her silenced subjects: the victims discounted as ‘collateral damage’ in cold statistics. The landscapes she portrays are specific to México but the themes and conflicts her work brings to the surface are universal, as we witness violence spread across all borders.
Caring for the Carers: How Malaysian artists working with communities hold space | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia ArtsEquator Viewpoints Courtesy of Syarifah Nadhirah August 12, 2021 By Rahmah Pauzi (1,300 words, 5-minute read) I had forgotten how loaded the words “how are you,” or “apa khabar,” can be...
Antoine Grumbach — Les Yeux du Ciel — Jeanne Bucher Jaeger | Paris, Marais Gallery — Exhibition — Slash Paris Login Newsletter Twitter Facebook Antoine Grumbach — Les Yeux du Ciel — Jeanne Bucher Jaeger | Paris, Marais Gallery — Exhibition — Slash Paris English Français Home Events Artists Venues Magazine Videos Back Antoine Grumbach — Les Yeux du Ciel Exhibition Architecture, urban art, drawing, installation.....
For this series, Philip-Lorca diCorcia walked along Santa Monica Boulevard in Los Angeles in search of models who would be prepared to pose in hotel rooms according to pre- planned scenarios...
Untitled exemplifies the format that Anna Bella-Papp most commonly works in, using her hands to create delicate tablet-like reliefs within a rectangular form made out of clay...
With the war-torn Beirut cityscape as its backdrop—urban alleys, glistening beaches, abandoned buildings—Eric Baudelaire’s complex film, The Ugly One , unfolds in a time and place that vacillates among revolutionary narratives of the past, the fragile and ever-changing political situation of the present, and attempts to piece together the memories of those that live, or once lived, in the city...
Arima’s free brushstrokes gesture towards traditions in Expressionist painting, and Ticket could be seen as an attempt at “pure painting” in which the aesthetics of the medium supersede content...
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In conversation with Nataša Petrešin-Bachelez Together they will talk about Marwa Arsanios’ last video “ Falling is not collapsing, falling is extending “, 2016, presented recently at the Hammer Museum (Los Angeles), that looks into the garbage crisis in Beirut and the city’s recent real estate boom...
Future Gestalt re-imagines a large-scale sculpture “ Smoke” by Tony Smith as embodying a futuristic intelligence that communicates with a group of communitarians undergoing experimental psychotherapy...
Rossella Biscotti’s “10×10” series investigates the relationship between demographics, data processing, textile manufacturing and social structure...
L’exigence de la saudade Curated by Zasha Colah and Sumesh Sharma, Clark House Initiative, Bombay With: Padmini Chettur, Prajakta Potnis and Zamthingla Ruivah And the participation of: Nalini Malani, Krishna Reddy, Jean Bhownagary, Maarten Visser Intervention in the public space by: Justin Ponmany, Prabhakar Pachpute The exhibition brings together three artists from distant geographies within India – Padmini Chettur, a contemporary dancer, Prajakta Potnis, a visual artist, and Zamthingla Ruivah, a master weaver, whose works are conceptually engaged with remnant cultural forms, not as endangered traditions, rather to reinvent them in the present...