Maids Rooms
2012 - Photography (Photography)
1 image 70 x70 cm; 4 images 33 x 33 cm
Daniela Ortiz
In her work, Maids Room (2012) which is part of a series, Daniela Ortiz undertakes an architectural analysis of the houses belonging to the upper class of Lima. Her research highlights the position of ‘service architecture’, the vital space given to the domestics. The project offers an analysis of this room, its size and its position in relation to the rest of the house. This study is based on houses constructed between 1930 and 2012. The project examines a selection of 60 houses by presenting the architect’s project, the front of the buildings, floor plans, comparative dimensions of the rooms. The choice of presenting a composition of several photographs of various dimensions recalls the aesthetic of conceptual photography. It is disturbing to go from the formal beauty of the images and of the architecture represented to the revealed reality, showing the deadlock of modernist architecture carried on in contemporary architecture. Daniela Ortiz’s work creates, without any indulgence, spaces of tension which explore the notion of social class, race and nationality accentuating the fact that societies are built on the notions of inclusion and exclusion.
In order to reveal and critique hegemonic structures of power, Daniela Ortiz constructs visual narratives that examine concepts such as nationality, racialization, and social class. Ortiz’s work is always formally evolving, while maintaining a grassroot activist commitment. Her recent projects and research take up colonialism as it relates to European migratory control systems and legal structures that incite and perpetuate violence against racialized communities. Her artistic practice has turned to focus more on material and manual work, developing art pieces in ceramic, collage, and in formats such as children books in order to distinguish her work from eurocentric conceptual art aesthetics. She has also developed projects about the Peruvian upper class and its exploitative relationship with domestic workers.
Colors:
Related artist(s) to: Daniela Ortiz » Latin America, » Really Useful Knowledge, » Runo Lagomarsino, » Adelita Husni-Bey, » Adriano Pedrosa, » Akram Zaatari, » Anton Kannemeyer, » Asli çavuşoğlu, » Azzedine Meddour, » Bert Theis
© » KADIST
Runo Lagomarsino
2020On Fire by Runo Lagomarsino comprises twenty pieces of parchment, each of which has had the contours and map of Brazil burned in stages...
© » KADIST
Adelita Husni-Bey
2015After the Finish Line is a recent film by Adelita Husni-Bey produced for the exhibition Movement Break at Kadist-SF in 2015...
© » KADIST
Adelita Husni-Bey
2011Postcards from the Desert Island is a remake of a 50s educational film Holiday from the rules in which four children interact with an omniscient narrator who teleports them to a tropical island where there are no rules...
© » KADIST
Asli Çavusoglu
2018Future Tense (2017), a 16-page diary, is a project in the form of a newspaper that brings together 50 oracles by people from various political opinions and ethnicities who consulted sand, lead, tarot cards, coffee grounds, blank sheets of A4 paper, dreams, water, clairvoyance, astrology, pendulums and horoscopes in order to reveal the point that Turkey has reached in news casting...
© » KADIST
Runo Lagomarsino
2020Yo también soy humo (I am also smoke) is a 16mm film that has been digitized to video...
© » KADIST
Asli Çavusoglu
2020In the exhibition Pink as a Cabbage / Green as an Onion / Blue as an Orange , Asli Çavusoglu pursues her work on color to delve into an investigation into alternative agricultural systems and natural dyes made with fruits, vegetables, and plants cultivated by the farming initiatives she has been in touch with...
© » KADIST
Asli Çavusoglu
2020In the exhibition Pink as a Cabbage / Green as an Onion / Blue as an Orange , Asli Çavusoglu pursues her work on color to delve into an investigation into alternative agricultural systems and natural dyes made with fruits, vegetables, and plants cultivated by the farming initiatives she has been in touch with...
© » KADIST
Asli Çavusoglu
2020In the exhibition Pink as a Cabbage / Green as an Onion / Blue as an Orange , Asli Çavusoglu pursues her work on color to delve into an investigation into alternative agricultural systems and natural dyes made with fruits, vegetables, and plants cultivated by the farming initiatives she has been in touch with...
© » KADIST
Akram Zaatari
1960“When you position your hand on someone’s shoulder, your shoulders become straight and horizontal...
© » KADIST
Akram Zaatari
1950“Other photographers used to send me negatives of cross-eyed people, asking me to retouch them...
© » KADIST
Akram Zaatari
1957“These are negatives that were scratched because of a jealous husband from the Baqari family, who never let his wife out by herself...
© » KADIST
Akram Zaatari
1950“In the 1980s I started using coloured paper backdrops, one of which was yellow...
© » KADIST
Akram Zaatari
1972“The two men were relatives and both were in the Lebanese Army.” Hashem El Madani...
© » KADIST
Akram Zaatari
1966“People often asked if they could pose with the Kodak advertisement where a full scale woman is featured with a camera offering Kodak rolls...
© » KADIST
Akram Zaatari
1950“While taking the picture it was challenging to make the boys sit properly without moving...
© » KADIST
Akram Zaatari
1956“People often asked if they could pose with the Kodak advertisement where a full scale woman is featured with a camera offering Kodak rolls...
© » KADIST
Akram Zaatari
1970“People often asked if they could pose with the Kodak advertisement where a full scale woman is featured with a camera offering Kodak rolls...