40 x 160 cm and 40 x 40 cm
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. Following the same formal principal, she has developed a new series called Estat nacio . This work presents a critical point of view on the construction of a national sovereignty through speeches and laws concerning people who are not considered as citizens according to immigration legislation and the regulations affecting immigrants’ rights and freedom. The project presents an analysis of historical figures related to colonialism, still visible in the public spaces of Barcelona, mainly through monumental statues of military figures, politicians or industrial figures. The series is accompanied by images of institutions that financed and collaborated in colonialism such as the Bank of Barcelona or the Overseas Hispanic Society. A text contextualizes each image and serves as a historical reference for each figure or institution. This is a critical answer to speeches referring to the idea of a Nation-State characterized by a territory, a precise population with a common language and culture.
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...
Glenn Ligon’s diptych, Condition Repor t is comprised of two side-by-side prints...
This work emphasises Kitty Kraus’s involvement with process, with alchemical transformations associated with Post-Minimalist aesthetics, Arte Povera, Joseph Beuys and Robert Smithson...
Drama Lessons: Key takeaways from the SDEA Theatre Arts Conference 2021 | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia ArtsEquator Viewpoints Courtesy of SDEA June 16, 2021 By Sarah Tang The much-anticipated SDEA Theatre Arts Conference came to a close on 30 May after nine days of workshops, masterclasses and presentations by theatre practitioners and drama educators from 14 countries including India, Greece, United Kingdom (UK), Singapore and Australia...
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...
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...
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...
In 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...
“Other photographers used to send me negatives of cross-eyed people, asking me to retouch them...
A Splinter (Study for Painting) is a large graphite work on paper by Hernan Bas that was intended as a study for a later painting...
The depiction of the female figure in the sculptures remains an economic, canny composition of geometric abstractions in a Modernist spirit...