Textile (Textile)

The title for this body of work, Poco se gana hilando, pero menos mirando , is based on a Spanish saying that underestimates feminized crafts or tasks, implying that it is better for a woman to be doing ‘something’, no matter how useless it is, instead of just doing nothing. This series of works by Claudia Gutiérrez Marfull features embroideries that represent the peripheral and marginalized landscapes of Puente Alto commune in Santiago, the city’s biggest district and its most southern outskirts. In 2015, when this work was produced, there was not a single health service provider, police station, pharmacy, daycare or school in the whole area of Puente Alto.

Photography (Photography)

In 1980, with the construction of highways in Indigenous territories, an epidemic was brought to the Yanomami region. As the Yanomami do not have first names, it was necessary to give them numbers to indicate that they had already been vaccinated and identify each one for their medical records. From this series of events, Claudia Andujar’s Marcados series was born: what was supposed to be a mere photographic record, for organizational purposes, ended up raising a big question about the “labels” given to people in the construction of societies.

Film & Video (Film & Video)

Los rastreadores is a two-channel video by Claudia Joskowicz narrating the story of a fictitious drug lord, Ernesto Suarez, whose character is based on the well-known Bolivian drug dealer, Roberto Suárez. In the video, Suarez returns home from prison and survives a massacre that takes place at his home in Bolivia. Told in four chapters, the story is inspired by John Ford’s American Western classic film The Searchers (1956), this work similarly focuses on the politicized atmosphere of Bolivian history, searching for cues of race and alienation.

Film & Video (Film & Video)

The primary interest in the trilogy is Joskowicz’s use of cinematic space, with long tracking shots that portray resistance to habitual viewing experiences of film and television. Video plays a role in the relation between the use of her locations and the stories of actual figures depicted as central in the frame. The meaning behind these historical icons such as Che and Cassidy, speak to their stories as itinerant figures whom traveled in a preglobalized era through borders and cultures in order to escape the law or overthrow it.

Sculpture (Sculpture)

Estratos II by artist Cynthia Gutiérrez features a large white plinth with a transversal cut through the lower half, revealing a collection of archeological objects. These pieces of history have seemingly been lost to time and have lived covered under a sterile exterior. To create the ceramic objects for this project, Gutiérrez worked closely with an artist that creates Mesoamerican replicas.

Sculpture (Sculpture)

escenario chacana by Claudia Martínez Garay is a sculptural work composed of a frame-like structure that contains a series of ceramic pieces. It references the Chakana, an Andean cross that encompasses the different levels of existence (known as Pachas) and sacred elements contained in the Indigenous cosmologies of the region. It often appears in the geometrical motifs of textiles and ceramics.

Film & Video (Film & Video)

The primary interest in the trilogy is Joskowicz’s use of cinematic space, with long tracking shots that portray resistance to habitual viewing experiences of film and television. Video plays a role in the relation between the use of her locations and the stories of actual figures depicted as central in the frame. The meaning behind these historical icons such as Che and Cassidy, speak to their stories as itinerant figures whom traveled in a preglobalized era through borders and cultures in order to escape the law or overthrow it.

Photography (Photography)

In 1980, with the construction of highways in Indigenous territories, an epidemic was brought to the Yanomami region. As the Yanomami do not have first names, it was necessary to give them numbers to indicate that they had already been vaccinated and identify each one for their medical records. From this series of events, Claudia Andujar’s Marcados series was born: what was supposed to be a mere photographic record, for organizational purposes, ended up raising a big question about the “labels” given to people in the construction of societies.

Film & Video (Film & Video)

Some Dead Don’t Make a Sound (Hay muertos que no hacen ruido) is a single-channel video by Claudia Joskowicz that features the Mexican legend of the Weeping Woman (La Llorona) as its main protagonist. The video begins with the image of a ghost-like female figure, representing La Llorona, slowly walking down a well-known street in Oaxaca, from the main square (el Zócalo) to the Teatro Macedonio Alcalá, with a painful expression on her face. According to this famous oral myth, the Weeping Woman drowned her two sons in a fit of grief and anger after her husband abandoned her.

Film & Video (Film & Video)

The primary interest in the trilogy is Joskowicz’s use of cinematic space, with long tracking shots that portray resistance to habitual viewing experiences of film and television. Video plays a role in the relation between the use of her locations and the stories of actual figures depicted as central in the frame. The meaning behind these historical icons such as Che and Cassidy, speak to their stories as itinerant figures whom traveled in a preglobalized era through borders and cultures in order to escape the law or overthrow it.

Photography (Photography)

In 1980, with the construction of highways in Indigenous territories, an epidemic was brought to the Yanomami region. As the Yanomami do not have first names, it was necessary to give them numbers to indicate that they had already been vaccinated and identify each one for their medical records. From this series of events, Claudia Andujar’s Marcados series was born: what was supposed to be a mere photographic record, for organizational purposes, ended up raising a big question about the “labels” given to people in the construction of societies.

Photography (Photography)

In 1980, with the construction of highways in Indigenous territories, an epidemic was brought to the Yanomami region. As the Yanomami do not have first names, it was necessary to give them numbers to indicate that they had already been vaccinated and identify each one for their medical records. From this series of events, Claudia Andujar’s Marcados series was born: what was supposed to be a mere photographic record, for organizational purposes, ended up raising a big question about the “labels” given to people in the construction of societies.

Drawing & Print (Drawing & Print)

Historically, blondeness has been a signifier for desirability and beauty, speaking to “purity” — the purity of whiteness — like no other bodily attribute except, perhaps, blue eyes. In the twenty-first century, blondeness is the look desired by American presidents, pop stars, rappers, television announcers, Hollywood celebrities, the boy next door, and some Asian Americans, African Americans, white Americans, Arab Americans, and LatinX Americans. The desirability of blonde hair has no genre boundaries, no pronoun limitation, and no class limit.