Drawing & Print (Drawing & Print)

The artist writes about her work Borrando la Frontera, a performance done at Tijuana/San Diego border: “I visually erased the train rails that serve as a divider between the US and Mexico. I painted them sky blue, creating a “Hole in the Wall” This deconstruction of “feminized” work explores the difficulties in reconciling both low wages and undervalued work via social and political infrastructures, confronting issues of labor and power. The images that I myself perform, present a duality: women dressed in a black tango dance attire while engaging in de-skilled domestic chores; the surreal within non-fiction.

Installation (Installation)

The Absolute Restoration of All Things is a collaboration by artist Miguel Fernández de Castro and anthropologist Natalia Mendoza. For this project, Fernández de Castro and Mendoza researched the 2014 court case that shut down Penmont Mining’s operations in the middle of the Sonoran desert. The lawsuit was brought to court by the “ejidatarios” (communal land holders) of El Bajío, Sonora, who claimed that their territory was illegally occupied and exploited, causing an irrevocable environmental impact on their land.

Photography (Photography)

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.

Drawing & Print (Drawing & Print)

In her new series titled Ninas Peruanas Cusquenas , Teresa Burga depicts young indigenous women from Peru’s Andean region, dressed in traditional garments. Sourcing imagery from the internet, the drawings recall an untitled series of drawings from 1974, in which Burga selected images of women at random from various print media, and then rendered the images on paper. Those drawings, like the newer ones, suggest the perils of images without context––how assumptions are made, stereotypes are formed, and knowledge is gathered.

Film & Video (Film & Video)

In the performance video Vitrina , María Teresa Hincapié stood inside a storefront window in downtown Bogota, unannounced, for eight hours a day, wearing a uniform and initially carrying out cleaning chores. As the day and passers went by, the routine became more playful: she would send kisses to bus drivers on the busy Avenida Jiménez who would return them, use the newspaper with which she was shining the glass to flirtatiously hide and engage with an improvised audience or draw the shape of her body with soap and a sponge. She would interrupt these chores to carry out other ‘feminine’ activities, like brushing her hair or applying make-up, only to return to frantically cleaning the transparent surface that separated her from the public.

Installation (Installation)

Part of the exhibition PIÑA MATRIZ (2014) at Despacio Art, this untitled work by Carlos Fernández is a wood panel (formerly a section of a wooden table top) that bears the residue of insects interacting with fermented pineapple. The exhibition considered the production of pineapple monocultures and the agricultural monopolies for this product. Fernández used the exhibition space to portray alternative possibilities of diversified and ecologically sustainable production that could be mobilized in place of mass produced pineapple monocultures.

Sculpture (Sculpture)

For this floor based work, Gomes has taken two lengths of bamboo and tied them together using linen thread. The work is self-supporting and stands in a crack or a hole in the floor. The work suggests precariousness, frailty as well as humanity through its verticality, and its gentle sinuous form, referencing perhaps the work of Giacometti.

In line with Hernández’s interest in catastrophe, Vulnerabilia (choques) is a collection of images of shipwrecks and Vulnerabilia (naufragios) collects scenes of car crashes. The artist has said that the appropriation of popular imagery is a way for him to take pictures without a camera and to register the things that happen in the everyday as visual essays that evidence the fragility of the world.

Sculpture (Sculpture)

Unraveling, or “unweaving” sections of fabric, Maria Fernanda Plata arrived at delicate and tenuous-looking forms, both ghostly and gentle. Her careful meditations in fabric reflect Plata’s ongoing interest in the relationship between people and their environments, in fragility, systems, and destruction.

Painting (Painting)

In this untitled acrylic painting, Tessa Mars explores the long-lasting effects of colonialism on the Afro-Caribbean diaspora, particularly in terms of female vulnerability and resilience. Drawing on her interest in retelling stories of her native country, and confronting the past and the present, Mars portrays her cultural essence and heritage by imagining spiritual spaces that connect people and land across time. With a pictorial practice that highlights pastel colors, the divinisation of the figures on the canvas and the spiritual elements within the composition ultimately enhance the narrative of her Caribbean ancestry while conflating the distinctions between autobiographical and historical events.

Film & Video (Film & Video)

Há Terra! (There Is Land!) is a short film by Ana Vaz that picks up on the artist’s previous film A Idade da Pedra (2013), in which Vaz imagined premodernity in her native Brazil.

Painting (Painting)

Llorar mucho (To Cry A Lot) is representative of Fernanda Laguna’s practice of the past twenty years. It is an upshot of intense emotional stress and psychological regression for the artist, which resulted in her renewed and strengthened commitment to feminist causes, especially in Villa Fiorito, but also as part of the leading committee of Ni Una Menos in Argentina. It also picks up the thread of earlier works, accentuating the use of cotton, and embracing an almost cornily sentimental tone.

Painting (Painting)

¡Qué triste estoy! (I’m So Sad) is representative of Fernanda Laguna’s practice of the past twenty years. It is an upshot of intense emotional stress and psychological regression for the artist, which resulted in her renewed and strengthened commitment to feminist causes, especially in Villa Fiorito, but also as part of the leading committee of Ni Una Menos in Argentina.

Sculpture (Sculpture)

Drought Mask by Rajni Perera is a prototype that is suggestive of dire implications for human survival. Directly addressing the urgent climate crisis, specifically wide-spread drought, this sculpture imagines hybrid cultural aesthetics of the near-future after global collapse. Composed of various woven textiles complete with frills and fringes, leather, a gas mask, and pencil, Rajni’s mask prefigures future dystopian characters who are resilient and resourceful; self-fashioning tools for survival.

Drawing & Print (Drawing & Print)

The three Maiko s were included in Ron Terada’s 2008 exhibition, Voight–Kampf , at Catriona Jeffries gallery. More ambitious in size and subject matter, this show with its complex video installation marked a new path for Terada’s work. Voight-Kampf is based on a scene from Ridley Scott’s 1982 movie Blade Runner in which a giant advertising billboard in the midst of a dystopian city of Los Angeles in the future displays a geisha eating candy.

Film & Video (Film & Video)

This still life falls apart, or rather floats apart as the composition is proved unstable and constantly morphing. An impossible attempt at achieving a fixed state, some objects remain buoyant and some objects sink, constantly tilting the overall scale and arrangement. Properties of weight, mass and shape have their own will but a hand appears in the scene, pushing back on these mysterious forces.

Film & Video (Film & Video)

Ana Vaz describes her film É Noite na América (It is Night in America) as an eco-terror tale, freely inspired by A cosmopolitics of animals by Brazilian philosopher Juliana Fausto; in which she investigates the political life of non-human beings and questions the modern idea of the exceptionality of the human species. In parallel to the feature film version, Vaz created a three-channel installation format meant to be displayed in contemporary art spaces. This edition includes three complementary video works that expand on the conceptual frameworks of the film.

Sculpture (Sculpture)

Ana Navas uses humor to address formal, aesthetic, and societal conventions that are interwoven in the everyday through the normalization of gendered behaviors and style choices used to project personal and collective signifiers. In her Donation Vases she uses quotes taken from corporate coach Lois P. Frankel’s book Nice girls (still) don’t get the corner office: Unconscious Mistakes Women Make That Sabotage Their Careers (2004). The aspirational, somewhat cynical tone of the sentences – “When given a choice, sit next to most powerful person, their power will cascade over you,” “Why is it that women buy those little chains to hang reading glasses around their necks,” “If you see your reflection on a glossy surface & notice something wrong, avoid fixing it there” – reveals a particular understanding of what a professional, ambitious cis woman should look like, the persona she should project, and the type of desirable behaviors that constitute a stereotypical “successful woman” according to a capitalist morality.

Photography (Photography)

Ana Roldán’s Primeval forms series looks up close at the fecund shapes of plants often found in the artist’s native Mexico. These botanical portraits, like this one of the Pseudobombax ellipticum, or shaving brush tree, bristle against the edges of the image’s frame, fecund and wild, familiar yet foreign. Ana Roldán works in diverse media such as performance, sculpture, installations, video and collage.

Photography (Photography)

Ana Roldán’s Displacements works use images taken from a 1970s exhibition catalogue for an exhibition called The Death in Mexico. Using pre-Columbian objects and other artifacts from Mexican history, the exhibition aimed to explore various representations of death in the Mexican cultural tradition. Roldán’s works begin with these rich black-and-white photographs and break them apart into fragments, slicing and dismembering the artifacts they depict.

Installation (Installation)

Aqua by Fernando Palma Rodríguez is an installation formed by four gourds and one movement detector that activates them. Once put in motion, the gourds open and close hinged hands that are cut from their bodies, catalyzing a sophisticated, choreographed conversation among them. Following Indigenous notions of personhood, Palma Rodríguez grants agency to ordinary objects and therefore the ability to relate to others—humans as well as non-humans.

Film & Video (Film & Video)

Interested in role-play and videogames, Ana María Millán developed workshops with different communities in order to create characters and scenarios for her animations, often in collaboration with a choreographer. Elevación evokes various narratives inspired by the comicstrip Marquetalia, Raíces de la Resistencia (Marquetalia, Roots of the Resistance) (2011). This comic strip is a memoir of the FARC (Revolutionary Armed Forces of Colombia) guerillas written by Jesús Santrich, one of its leaders who, after the 2016 Peace Agreement, rejoined dissident members of the organization in a clandestine guerrilla splinter group in 2019.

Textile (Textile)

Incompatibles (Unitas) is made from discarded samples of the yarns that are exported from Croatia and not actually available in the local market. The textile industry in former Yugoslavia has essentially closed down under pressure from Indian and Chinese industries and as a result of the botched privatization of once state-owned factories. There is only one factory remaining in Zagreb producing these yarns.

Painting (Painting)

In the painting called “The Consciousness of Memory, Time, and Guilt” as in many of her recent works, the body is fragmented. The brain, the ear, the eyes, these body parts that put us in relation with the other and link the visible to the invisible, remain isolated. Whereas the skulls are joined by lines evoking rivers.

Film & Video (Film & Video)

Letter to a Turtledove by Dana Kavelina is a short film based on a poem written by the artist. Delivered as a monologue and presented with subtitles, the poem encapsulates the traumas, grievances, horrors, dreams, and hallucinations that have descended upon Ukraine’s Donbass region since its invasion by Russia in 2014. Appropriating amateur footage shot during the war in the Donbass region, Kavelina’s film weaves sound and image into a poignant tapestry that considers the absurdity of war.

Film & Video (Film & Video)

Perspective was filmed during a residence in northern Poland. The film is preceded by a series of photographs made ? ?in her studio.

Film & Video (Film & Video)

There is no there by Gabriella and Silvana Mangano is a black and white looped video with sound, in conjunction with a live performance. The work is inspired by the Blue Blouse, a political propaganda theater movement which spread across the Soviet Union in the mid-1920s. More specifically, the work takes the form of ‘Living Newspapers’, which were performances based on topical news events.

Painting (Painting)

Untitled (Boom Box, Double-Sided) by Mary Ann Aitken is representational painting of a boom box on an unconventionally long canvas painted on both sides, to mimic the scale and appearance of the actual appliance. Known for going against trends, Aitken often favored dimensions, such as the square, that were otherwise considered out of style in contemporary painting. In this double-sided painting, one side depicts the titular boombox set up—a boxy cassette player, flanked by a pair of stereo speakers in front of wood panelling.

Painting (Painting)

Something To Do With Being Held by Jordan Ann Craig is inspired by a Cheyenne bead bag. Intrigued by the two shades of blue used for the source object (a deep dusty blue and a bold vivid cobalt blue) the artist replicated these shades in her painting. Craig then added in her own colors, including the pink-orange hues, to achieve a bold but soft quality about the work, as she states that she intended the work to convey vulnerability.

Sculpture (Sculpture)

Wheat Mollah ( 2011) is one of Slavs and Tatars composite object. The title Wheat Mollah has various interpretations, from “master” or spiritual authority for Shiites and “friend” for Sunnis. The turban is also worn in a diversity of cultures and religions in Africa, Asia and India.