Tierra
2013 - Film & Video (Film & Video)
33:28 minutes
Regina José Galindo
In 2012, former Guatemalan President José Efran Ros Montt was charged with genocide and crimes against humanity; Regina José Galindo’s video Tierra is a chilling reimagining of the atrocities recounted during his trial. Tierra depicts the artist standing naked in a lush field that a bulldozer has broken up. The video references an incident in which innocent Guatemalans were brutally murdered and buried in a mass grave. The stark contrast between the machine’s force and the artist’s vulnerable body encapsulates Montt’s regime’s injustice. Moreover, the chasm surrounding her serves as a poignant symbol of the despair and alienation that political violence and tyranny frequently cause.
Regina José Galindo is a visual and performance artist. Her work investigates the universal ethical implications of social injustices such as racial, gender, and other abuses in our society’s inequitable institutions of power. In the context of a newly democratized culture, Galindo has developed a socially and politically motivated practice. She strives to acknowledge her country’s thirty-six years of civil war while also looking forward to a more peaceful and productive future. Galindo’s work focuses on historical issues that persist in the “new” Guatemala. Her work is confrontational and often shocking, bringing to light issues that few Guatemalans are willing to confront. Galindo’s unapologetically graphic actions amplify her contentious statements. She hopes to shake her Guatemalan audience out of their trance, breaking the numbness caused by years of violence. Galindo is best known for her performance work addressing the social, political and cultural violence that has affected her native Guatemala. Her work stages her own body, often submitting it to severe acts in order to evince the mass violence, crimes and sacrifice experienced by indigenous Mayan communities and the women among them who suffered the brunt of the conflict during the thirty-six year conflict. Indifference is not an option for Galindo, by appropriating destruction and loss, her work condemns the abuse of women, and propels viewers to response or resistance.
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