14 wood panels: 20 x 30 cm
The Rebellion of Roots by Daniela Ortiz depicts a series of situations in which tropical plants, held hostage in the botanical gardens and greenhouses of Europe, are protected and nurtured by the spirits of racialized people who died as a result of European racism. The work is divided into four short stories: About Afghanistan and heroin , About Exposition Colonial and cow , About Jardin d’acclimatation and potato , and About Vietnam . The series of 14 painted panels draw upon the aesthetic of ex-votos, a genre of traditional religious folk painting that acts as a tribute for divine intervention in response to personal tragedy. In the paintings, the plants create their own forms of justice by confronting the authorities and institutions that perpetuate structural racism. In particular, the series exposes the violent influence of French colonialism around the world. The series draws connections between current geopolitical events and colonial histories, underpinned by various forms of poetic justice. At once colorful, naive, and humorous, the paintings are also sobering and cruel. For example, the poppy flowers in Afghanistan which witness the French military intervention, end up killing a French soldier in Mali who receives morphine treatment after an injury. In another painting, Frontex officials (the agency that regulates European borders) die choking on ‘anti-colonial’ potatoes from the Andes, or fall into the Seine, in the same spot where police repressed Algerian anti-colonial protests in 1961.
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.
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...
Juan Uslé — Viento sur — Lelong & Co Gallery — Exhibition — Slash Paris Login Newsletter Twitter Facebook Juan Uslé — Viento sur — Lelong & Co Gallery — Exhibition — Slash Paris English Français Home Events Artists Venues Magazine Videos Back Previous Next Juan Uslé — Viento sur Exhibition Painting Juan Uslé, Fulgor Celeste, 2023 (Détail) Vinyle, dispersion, acrylique et pigment sur toile — 198 × 112 cm Courtesy de l’artiste et galerie Lelong & Co...
Juan Uslé — Viento sur — Galerie Lelong & Co — Exposition — Slash Paris Connexion Newsletter Twitter Facebook Juan Uslé — Viento sur — Galerie Lelong & Co — Exposition — Slash Paris Français English Accueil Événements Artistes Lieux Magazine Vidéos Retour Précédent Suivant Juan Uslé — Viento sur Exposition Peinture Juan Uslé, Fulgor Celeste, 2023 (Détail) Vinyle, dispersion, acrylique et pigment sur toile — 198 × 112 cm Courtesy de l’artiste et galerie Lelong & Co...
Nina Azoulay — Comme un rond dans un carré — Frac île-de-france, le Plateau — Exposition — Slash Paris Connexion Newsletter Twitter Facebook Nina Azoulay — Comme un rond dans un carré — Frac île-de-france, le Plateau — Exposition — Slash Paris Français English Accueil Événements Artistes Lieux Magazine Vidéos Retour Précédent Suivant Nina Azoulay — Comme un rond dans un carré Exposition Installations, sculpture Derniers Jours Nina Azoulay, Olivia, 2024 © Nina Azoulay Nina Azoulay Comme un rond dans un carré Encore 7 jours : 11 janvier → 18 février 2024 La Project Room est le nouvel espace prospectif et expérimental du Frac qui prend place dans la dernière salle du Plateau...
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...
Previously, Ortiz produced a series of photographs related to her research on the position of ‘service architecture’, the vital space given to domestic servants in the modernist architectural houses of South American upper class families...
On Fire by Runo Lagomarsino comprises twenty pieces of parchment, each of which has had the contours and map of Brazil burned in stages...
After the Finish Line is a recent film by Adelita Husni-Bey produced for the exhibition Movement Break at Kadist-SF in 2015...
Yo también soy humo (I am also smoke) is a 16mm film that has been digitized to video...
“People often asked if they could pose with the Kodak advertisement where a full scale woman is featured with a camera offering Kodak rolls...
Daniel Boyd’s work WTEIA3 is part of a series of paintings that reference the stick charts used by indigenous communities on the Marshall Islands...
The Chair (2012) foregrounds media-based tensions between analog and digital imaging technologies as a means of challenging the continued circulation of visual ephemera from India’s colonial past...
Mozambican photographer uses pictures to highlight country’s colonial past - France 24 Skip to main content Mozambican photographer uses pictures to highlight country’s colonial past Issued on: 16/08/2023 - 11:51 Modified: 16/08/2023 - 12:03 01:31 A Mozambican photographer uses pictures to highlight the country’s colonial past...
Sarcastically titled to call attention to the problematic notions underlying colonialism, this photograph shows hundreds of Native Malaysians seated quietly behind one of their colonial oppressors...