Regina José Galindo
Guatemala City ,Guatemala 1974
The Body 2023
Installation view
The Watermill Center, New York
Photo: Courtesy of The Watermill CenterThe Body 2023
Installation view
The Watermill Center, New York
Photo: Courtesy of The Watermill CenterThe Body 2023
Installation view
The Watermill Center, New York
Photo: Courtesy of The Watermill CenterThe Body 2023
Installation view
The Watermill Center, New York
Photo: Courtesy of The Watermill CenterThe Body 2023
Installation view
The Watermill Center, New York
Photo: Courtesy of The Watermill CenterLa tierra no esconde a los muertos (The Earth Does Not Hide the Dead) 2023
Commissioned and produced by Asia Culture Center with curatorship by Jooyeon Lee and the participation of students from the Department of Performing Arts Dance and the Department of Korean Culture Performance Planning
Courtesy of Asia Culture Center and the artist.La tierra no esconde a los muertos (The Earth Does Not Hide the Dead) 2023
Commissioned and produced by Asia Culture Center with curatorship by Jooyeon Lee and the participation of students from the Department of Performing Arts Dance and the Department of Korean Culture Performance Planning
Courtesy of Asia Culture Center and the artist.La tierra no esconde a los muertos (The Earth Does Not Hide the Dead) 2023
Commissioned and produced by Asia Culture Center with curatorship by Jooyeon Lee and the participation of students from the Department of Performing Arts Dance and the Department of Korean Culture Performance Planning
Courtesy of Asia Culture Center and the artist.La tierra no esconde a los muertos (The Earth Does Not Hide the Dead) 2023
Commissioned and produced by Asia Culture Center with curatorship by Jooyeon Lee and the participation of students from the Department of Performing Arts Dance and the Department of Korean Culture Performance Planning
Courtesy of Asia Culture Center and the artist.La tierra no esconde a los muertos (The Earth Does Not Hide the Dead) 2023
Commissioned and produced by Asia Culture Center with curatorship by Jooyeon Lee and the participation of students from the Department of Performing Arts Dance and the Department of Korean Culture Performance Planning
Courtesy of Asia Culture Center and the artist.La tierra no esconde a los muertos (The Earth Does Not Hide the Dead) 2023
Commissioned and produced by Asia Culture Center with curatorship by Jooyeon Lee and the participation of students from the Department of Performing Arts Dance and the Department of Korean Culture Performance Planning
Courtesy of Asia Culture Center and the artist.La tierra no esconde a los muertos (The Earth Does Not Hide the Dead) 2023
Commissioned and produced by Asia Culture Center with curatorship by Jooyeon Lee and the participation of students from the Department of Performing Arts Dance and the Department of Korean Culture Performance Planning
Courtesy of Asia Culture Center and the artist.Anestesia, Anistia, Amnésia (Anesthesia, Amnesty, Amnesia) 2023
Installation view
Coleção Moraes-Bardose, São Paulo, Brasil
Courtesy of Coleção Moraes-Barbosa. Photo by PontogorAnestesia, Anistia, Amnésia (Anesthesia, Amnesty, Amnesia) 2023
Installation view
Coleção Moraes-Bardose, São Paulo, Brasil
Courtesy of Coleção Moraes-Barbosa. Photo by PontogorAnestesia, Anistia, Amnésia (Anesthesia, Amnesty, Amnesia) 2023
Installation view
Coleção Moraes-Bardose, São Paulo, Brasil
Courtesy of Coleção Moraes-Barbosa. Photo by PontogorAnestesia, Anistia, Amnésia (Anesthesia, Amnesty, Amnesia) 2023
Installation view
Coleção Moraes-Bardose, São Paulo, Brasil
Courtesy of Coleção Moraes-Barbosa. Photo by PontogorAnestesia, Anistia, Amnésia (Anesthesia, Amnesty, Amnesia) 2023
Installation view
Coleção Moraes-Bardose, São Paulo, Brasil
Courtesy of Coleção Moraes-Barbosa. Photo by PontogorTierra (Land) 2022
Exhibition view
PAV Parco Arte Vivente, Turin
Photo: Francesca CirilliTierra (Land) 2022
Exhibition view
PAV Parco Arte Vivente, Turin
Photo: Francesca CirilliTierra (Land) 2022
Exhibition view
PAV Parco Arte Vivente, Turin
Photo: Francesca CirilliTierra (Land) 2022
Exhibition view
PAV Parco Arte Vivente, Turin
Photo: Francesca CirilliTierra (Land) 2022
Exhibition view
PAV Parco Arte Vivente, Turin
Photo: Francesca CirilliEl Grito 2022
Exhibition view
La Nueva Fabrica
Antigua Guatemala,
Photo: Ana WerrenEl Grito 2022
Exhibition view
La Nueva Fabrica
Antigua Guatemala,
Photo: Ana WerrenEl Grito 2022
Exhibition view
La Nueva Fabrica
Antigua Guatemala,
Photo: Ana WerrenEl Grito 2022
Exhibition view
La Nueva Fabrica
Antigua Guatemala,
Photo: Ana WerrenEl Grito 2022
Exhibition view
La Nueva Fabrica
Antigua Guatemala,
Photo: Ana WerrenRíos de gente (Rivers of People) 2022
Exhibition view
Proyectos Ultravioleta
Guatemala CityRíos de gente (Rivers of People) 2022
Exhibition view
Proyectos Ultravioleta
Guatemala CityRíos de gente (Rivers of People) 2022
Exhibition view
Proyectos Ultravioleta
Guatemala CityRíos de gente (Rivers of People) 2022
Exhibition view
Proyectos Ultravioleta
Guatemala CityRíos de gente (Rivers of People) 2021
Photographic print on cotton paper
39.4 x 70 inRíos de gente (Rivers of People) 2021
Photographic print on cotton paper
39.4 x 59 inRíos de gente (Rivers of People) 2022
Exhibition view
Proyectos Ultravioleta
Guatemala CityRíos de gente (Rivers of People) 2022
Exhibition view
Proyectos Ultravioleta
Guatemala CityRíos de gente (Rivers of People) 2022
Exhibition view
Proyectos Ultravioleta
Guatemala CityRíos de gente (Rivers of People) 2021
Installation of four-channel video, four-channel audio
Channel 1
02:24 min Ríos de gente (Rivers of People) 2021
Installation of four-channel video, four-channel audio
Channel 3
03:26 minRíos de gente (Rivers of People) 2021
Installation of four-channel video, four-channel audio
Channel 4
01:54 minRíos de gente (Rivers of People) 2021
Single channel video
06:41 minRíos de gente (Rivers of People) 2021
Installation of four-channel video, four-channel audio
02:24 min / 02:03 min / 03:26 min / 01:54 minJardín de flores 2021
Performance with the support of the Organization of Trans Women Reinas de la noche -OTRANS- and the Xela Support Group -GAX- in conjunction with HIVOS working within the framework of the day of non-violence against women on 25, with the aim of representing them as those flowers in constant resistance to the daily violence that trans women face.
Guatemala CityJardín de flores 2021
Performance with the support of the Organization of Trans Women Reinas de la noche -OTRANS- and the Xela Support Group -GAX- in conjunction with HIVOS working within the framework of the day of non-violence against women on 25, with the aim of representing them as those flowers in constant resistance to the daily violence that trans women face.
Guatemala CityJardín de flores 2021
Performance with the support of the Organization of Trans Women Reinas de la noche -OTRANS- and the Xela Support Group -GAX- in conjunction with HIVOS working within the framework of the day of non-violence against women on 25, with the aim of representing them as those flowers in constant resistance to the daily violence that trans women face.
Guatemala CityAparición (Ruhr Triennale) 2021
Every three days a woman is murdered by her partner or expartner in Germany.
APARICIÓN draws the attention to this reality by the installation of several
temporary monuments in Ruhr, Germany. The work rememoirs the murdered
women, every three days, with the apparition of a living sculpture.
Ruhr, Germany
Production: Lutz Henke for Ruhr Triennale
Commisioned by: Ruhr Triennale
Photography: Lutz Henke
Video: Matthias Maercks
Dramaturgy Aljoscha BegrichAparición (Ruhr Triennale) 2021
Every three days a woman is murdered by her partner or expartner in Germany.
APARICIÓN draws the attention to this reality by the installation of several
temporary monuments in Ruhr, Germany. The work rememoirs the murdered
women, every three days, with the apparition of a living sculpture.
Ruhr, Germany
Production: Lutz Henke for Ruhr Triennale
Commisioned by: Ruhr Triennale
Photography: Lutz Henke
Video: Matthias Maercks
Dramaturgy Aljoscha BegrichRios de gente 2021
“Allí donde hubo un río, allí cantemos” remembered the places where once was a
river that was diverted or contaminated by the extractive Industry that robs to the
Guatemalan Indigenous people their resources.
In the Festival “Libertad para el Agua” participated more than a thousand kids,
teens, and women from local communities that have been affected by the
Transnational companies, mining, hydroelectric, & monoculture. In Ixcán (Quiché),
Chisec (Alta Verapáz), El Estor (Izabal), Champerico (Retalhuleu), Monte Olivo
(Cobán), San Juan Chamelco, Santa Rosa, and others, the people shouted:
Freedom to water!, Freedom for Bernardo (Caal)!, We fight for life!, We fight for
water!, Water Is life not merchandise!, among other slogans and demands.
Produced by “Maiz de vida” for the festival “Libertad para el Agua”.
Thanks to the support of Oxfam, Canada’s Government, & Camino Verde.
Project design and team coordination:
Andrés Cano Sierra
Artistic Production
Valeria Leiva
Community call
Abelino Chub
Rosa Yalibath
Hary Cacao
Rivers making
Yutzil Pablo
Volunteers Management:
Luis Melgar
Press:
Lucía Escobar
Purchasing manager
Lidia Ajcalón
Graphic design:
Santiago Lucah
Documentation management:
Tierras Bajas del Norte (Sonora Ixcán y Chisec)
Esteban Calderón
Lucía Escobar
Monte Olivo community, Alta Verapaz
Benjamín Sagüi
Champerico, Retalhuleu (Nuevo Monte Cristo, Comunidad 20 de Octubre)
Henning Sac
Lanquín, Alta Verapaz
Rudy Orrego
Valeria Leiva
San Juan Chamelco, Alta Verapaz
Alexander Catún
Audiovisual production
Producer: Cuenca Studios
Camera 1 Leyzer Chiquin
Camera 2 Sebastián Winter
Drone Carlos Coc
Sound by: Lourdes Maldonado
Edit by: Pepe OrozcoRios de gente 2021
“Allí donde hubo un río, allí cantemos” remembered the places where once was a
river that was diverted or contaminated by the extractive Industry that robs to the
Guatemalan Indigenous people their resources.
In the Festival “Libertad para el Agua” participated more than a thousand kids,
teens, and women from local communities that have been affected by the
Transnational companies, mining, hydroelectric, & monoculture. In Ixcán (Quiché),
Chisec (Alta Verapáz), El Estor (Izabal), Champerico (Retalhuleu), Monte Olivo
(Cobán), San Juan Chamelco, Santa Rosa, and others, the people shouted:
Freedom to water!, Freedom for Bernardo (Caal)!, We fight for life!, We fight for
water!, Water Is life not merchandise!, among other slogans and demands.
Produced by “Maiz de vida” for the festival “Libertad para el Agua”.
Thanks to the support of Oxfam, Canada’s Government, & Camino Verde.
Project design and team coordination:
Andrés Cano Sierra
Artistic Production
Valeria Leiva
Community call
Abelino Chub
Rosa Yalibath
Hary Cacao
Rivers making
Yutzil Pablo
Volunteers Management:
Luis Melgar
Press:
Lucía Escobar
Purchasing manager
Lidia Ajcalón
Graphic design:
Santiago Lucah
Documentation management:
Tierras Bajas del Norte (Sonora Ixcán y Chisec)
Esteban Calderón
Lucía Escobar
Monte Olivo community, Alta Verapaz
Benjamín Sagüi
Champerico, Retalhuleu (Nuevo Monte Cristo, Comunidad 20 de Octubre)
Henning Sac
Lanquín, Alta Verapaz
Rudy Orrego
Valeria Leiva
San Juan Chamelco, Alta Verapaz
Alexander Catún
Audiovisual production
Producer: Cuenca Studios
Camera 1 Leyzer Chiquin
Camera 2 Sebastián Winter
Drone Carlos Coc
Sound by: Lourdes Maldonado
Edit by: Pepe OrozcoGuatemala Feminicida 2021
Walk through the streets of Guatemala City using a black and white flag as a mop.
Photography by: José Oquendo & Juan Esteban Calderón, Guatemala CityGuatemala Feminicida 2021
Walk through the streets of Guatemala City using a black and white flag as a mop.
Photography by: José Oquendo & Juan Esteban Calderón, Guatemala CityEl canto se hizo grito 2021
30 covered women, 10 mezzo sopranos between them, In memory of the women who have been murdered this year In Italy.
Commissioned & produced by Prometeo Gallery di Ida Pisani, Milano, Italy.Nuestra mayor venganza es estar vivas 2021
30 covered women playing castanets In memory of the women who have been
murdered In the Baleares Island since the official counting began.
Participative actions made with the women from Artà Balla i Canta y Esclafits i Castanyetes Cristina Alzamora Cabello, Maria Isabel
Alzamora Escanellas, Aina Amorós Joan, Mercè Barbon Ferriol, Cati Bisbal Nadal, Mercè Brunet Llaneras, Pepa Cabrer Flaquer, Margalida Cantó Canet, Margalida Cantó Llaneras, Bàrbara Cobo Sureda, Maria del Mar Danús Jaume, Catalina Ferragut Sancho, Maria Teresa Ferrer Vaquer, Xisca Ferriol Colomar, Mireia Fornés Ordines, Magdalena Fuster Lorenzo, Margalida Garau Orell, Marga
Garau Silva, Maria Antònia Genovard Bonnín, Laura Genovard Quetglas, Aitana Gil Cobo, Maria Teresa Gil Massanet, Maria Rosa
Ginard Cantó, Antònia Ginard Orell, Francisca Maria Jaume Gil, Magdalena Maria Fernàndez, Coloma Maria Nicolau, Maria Nadal
Cursach, Maria Antònia Nicolau Ferragut, Maria Francisca Pastor Terrassa, Maria Antònia Piris Esteva, Antònia Quetglas Maria, Maria
Alejandra Sánchez Novo, Maria Cristina Sancho Capo, Maria del Carme Servera Cobo, Catalina Antònia Terrassa Cantó y Marta Vega
Sureda.
A project curated by: Fernando Gómez de la Cuesta
Produced by: Cool Days Festival y Ajuntament d’Artà
Photography and video by: La Nave Nodriza
Edition: Pepe Orozco Recinoz / ZMF
Special thanks to: Esclafits i Castanyetes, Artà Balla i Canta, Maria Antònia Moll, Cristina Luna Rodríguez, Verónica R. Frías,Manolo
Galán, Toni Bonet, Joan Matamales y Toni Miquel Amorós
Artà, Mallorca, Spain, 2021.Aparición (Owned by Others) 2021
Every three days a woman is murdered by her partner or expartner in Germany.
APARICIÓN draws the attention to this reality by the installation of several
temporary monuments in Ruhr, Germany. The work rememoirs to the murdered women, every three days, with the apparition of a living sculpture.
Production: Lutz Henke for Owned by the others, Berlin.
Photography: Lutz HenkeEl gran retorno 2020
Exhibition view
The Gardeners
Proyectos Ultravioleta, Guatemala
El gran retorno 2019
12:56 min
Edition 1/5 + 2 A.P.
Photo: Diego SilvaPotencia Mundial 2019
A group of Chinese workers completely dismantled a Chevy car that I drive.
Previously, a Chinese worker dismantled an iPhone. This work explores the
commercial war between China and the United States and the resulting political and
economic tensions.
Curators: Feng Boyi, Wang Xiaosong, Liu Gang
Video Guo Yongzhan, Liu Zizheng, Huang Chengxiang
Editing: Cao Zhaoqing
Photography: Ouyang Heng
Now is the Time: Wuzhen Contemporary Art Exhibition. Whuzhen, China
Potencia Mundial 2019
A group of Chinese workers completely dismantled a Chevy car that I drive.
Previously, a Chinese worker dismantled an iPhone. This work explores the
commercial war between China and the United States and the resulting political and
economic tensions.
Curators: Feng Boyi, Wang Xiaosong, Liu Gang
Video Guo Yongzhan, Liu Zizheng, Huang Chengxiang
Editing: Cao Zhaoqing
Photography: Ouyang Heng
Now is the Time: Wuzhen Contemporary Art Exhibition. Whuzhen, China
Potencia Mundial 2019
A group of Chinese workers completely dismantled a Chevy car that I drive.
Previously, a Chinese worker dismantled an iPhone. This work explores the
commercial war between China and the United States and the resulting political and
economic tensions.
Curators: Feng Boyi, Wang Xiaosong, Liu Gang
Video Guo Yongzhan, Liu Zizheng, Huang Chengxiang
Editing: Cao Zhaoqing
Photography: Ouyang Heng
Now is the Time: Wuzhen Contemporary Art Exhibition. Whuzhen, China
Monumento a los invisibles 2018
The forgotten
the ones that don’t matter
the ones that don’t count
the ones that despite their bravery
continue to be small
in the eyes of the giants.
Six student volunteers and I remain motionless, hidden underneath sheaths of
white fabric. We stand on structures situated in a yard reserved for the academic
elite of Cambridge
Photography and video: Josh Murfitt
(Commissioned and produced by Kettles Yard, as part of the show “Actions. The
image of the world can be different”. Front Court, King’s College, Cambridge. U.K.
2018)La Panel Blanca 2018
We located an old white panel with similar characteristics to the white panel that belonged to the State and was used to kidnap and disappear people during the darkest years of the war in Guatemala, we reshape it and exhibit it.
The panel was exposed for a month and every afternoon at five in the afternoon was activated by poets, artists and interested people who gathered around to intervene or to read poetry and tell stories related to those years.
Project carried out jointly with Juan Esteban Calderón.
Commissioned and produced as part of the “Jornadas de la Memoria”, in honor of the missing writer Luis de Lion. Spanish Cooperation, Antigua Guatemala
La Panel Blanca 2018
We located an old white panel with similar characteristics to the white panel that belonged to the State and was used to kidnap and disappear people during the darkest years of the war in Guatemala, we reshape it and exhibit it.
The panel was exposed for a month and every afternoon at five in the afternoon was activated by poets, artists and interested people who gathered around to intervene or to read poetry and tell stories related to those years.
Project carried out jointly with Juan Esteban Calderón.
Commissioned and produced as part of the “Jornadas de la Memoria”, in honor of the missing writer Luis de Lion. Spanish Cooperation, Antigua Guatemala
La Panel Blanca 2018
We located an old white panel with similar characteristics to the white panel that belonged to the State and was used to kidnap and disappear people during the darkest years of the war in Guatemala, we reshape it and exhibit it.
The panel was exposed for a month and every afternoon at five in the afternoon was activated by poets, artists and interested people who gathered around to intervene or to read poetry and tell stories related to those years.
Project carried out jointly with Juan Esteban Calderón.
Commissioned and produced as part of the “Jornadas de la Memoria”, in honor of the missing writer Luis de Lion. Spanish Cooperation, Antigua Guatemala
Bandera Negra 2018
The artist held and waved a black national flag of Guatemala during the independence parade on September 15.
Photographs and video: Juan Esteban Calderón
Antigua Guatemala. Guatemala.
Bandera Negra 2018
The artist held and waved a black national flag of Guatemala during the independence parade on September 15.
Photographs and video: Juan Esteban Calderón
Antigua Guatemala. Guatemala.
Illicit Association 2017
Performance
Guatemala CityIllicit Association 2017
Intervened firearm (bought in the black market)
9 x 28 inThe Objective 2017
Digital C-Print on Dibond
39.4 × 59 in
The great powers control the arms market, they produce them, they sell them. Countries in crisis buy them, use them. Germany is
among the top five weapons manufacturers in the world and has illegally exported weapons to conflict zones, including some areas of
the Americas such as Mexico.
Participatory performance with four German G36 rifles. I remain inside a room and the public can only see me through the sights of four
rifles located on all four sides.
Camera: Nicolas Rösener
Editing: Pepe Orozco
Curator: Monika SzewcThe Objective 2017
Digital C-Print on Dibond
39.4 × 59 in
The great powers control the arms market, they produce them, they sell them. Countries in crisis buy them, use them. Germany is
among the top five weapons manufacturers in the world and has illegally exported weapons to conflict zones, including some areas of
the Americas such as Mexico.
Participatory performance with four German G36 rifles. I remain inside a room and the public can only see me through the sights of four
rifles located on all four sides.
Camera: Nicolas Rösener
Editing: Pepe Orozco
Curator: Monika SzewcThe Objective 2017
Digital C-Print on Dibond
39.4 × 59 in
The great powers control the arms market, they produce them, they sell them. Countries in crisis buy them, use them. Germany is
among the top five weapons manufacturers in the world and has illegally exported weapons to conflict zones, including some areas of
the Americas such as Mexico.
Participatory performance with four German G36 rifles. I remain inside a room and the public can only see me through the sights of four
rifles located on all four sides.
Camera: Nicolas Rösener
Editing: Pepe Orozco
Curator: Monika SzewcThe Objective 2017
Digital C-Print on Dibond
39.4 × 59 in
The great powers control the arms market, they produce them, they sell them. Countries in crisis buy them, use them. Germany is
among the top five weapons manufacturers in the world and has illegally exported weapons to conflict zones, including some areas of
the Americas such as Mexico.
Participatory performance with four German G36 rifles. I remain inside a room and the public can only see me through the sights of four
rifles located on all four sides.
Camera: Nicolas Rösener
Editing: Pepe Orozco
Curator: Monika SzewcThe Shadow 2017
We cannot escape the horror
It chases us
It’s our shadow
A Leopard, a German tank of the world war II, pursues the artist in a circle without beginning or end.
Camera, sound technician and edition: Nicolas Rösener
Curator: Monika Szeczyk
Production: Leon Hösl
Photography: Michael Nast
Second camera: Gabriel Caballeros
Commissioned and produced by Documenta 14, Kassel, Germany
The Shadow 2017
We cannot escape the horror
It chases us
It’s our shadow
A Leopard, a German tank of the world war II, pursues the artist in a circle without beginning or end .
Camera, sound technician and edition: Nicolas Rösener
Curator: Monika Szeczyk
Production: Leon Hösl
Photography: Michael Nast
Second camera Gabriel Caballeros
Commissioned and produced by Documenta 14, Kassel, Germany
Presence 2017
I do not want to put myself in others’ shoes
I want to put myself in their dresses.
Patricia, Saira, María de Jesús, Cindy, Sandra, Carmen, Ruth, Mindi, Florence,
Kenia, Velvet, Flor de María, Karen. All of these women had families, jobs, dreams;
they had plans for their lives. All of these women were silenced, violently ripped
from this earth. All of these women were murdered in Guatemala.
Each day around the world, hundreds of women die in violent ways, and dozens of
them die in Guatemala. According to figures from INACIF (Instituto Nacional de
Ciencias Forenses) and Fundación Sobrevivientes over a five year period 3,585
cases of murdered women were reported in Guatemala. Many of these crimes were
committed by a woman’s partner or ex-partner. The majority of these cases remain
in states of impunity.
Presencia was a performance project over a period of thirteen days during which I
wore the dresses of thirteen women who were murdered in Guatemala. I remained
still each day for two hours, invoking each woman’s presence.
This project was made possible thanks to the support of Fundación Sobrevivientes and that of the women’s family members, those who
bore their loses with strength and never faltered in the fight for justice.
Production: Carlos Bernardo Euler Coy and Mishad Orlandini
Press: Lucía Escobar
Photography: Ameno Córdoba
Vídeo: José JuárezPresence 2017
I do not want to put myself in others’ shoes
I want to put myself in their dresses.
Patricia, Saira, María de Jesús, Cindy, Sandra, Carmen, Ruth, Mindi, Florence,
Kenia, Velvet, Flor de María, Karen. All of these women had families, jobs, dreams;
they had plans for their lives. All of these women were silenced, violently ripped
from this earth. All of these women were murdered in Guatemala.
Each day around the world, hundreds of women die in violent ways, and dozens of
them die in Guatemala. According to figures from INACIF (Instituto Nacional de
Ciencias Forenses) and Fundación Sobrevivientes over a five year period 3,585
cases of murdered women were reported in Guatemala. Many of these crimes were
committed by a woman’s partner or ex-partner. The majority of these cases remain
in states of impunity.
Presencia was a performance project over a period of thirteen days during which I
wore the dresses of thirteen women who were murdered in Guatemala. I remained
still each day for two hours, invoking each woman’s presence.
This project was made possible thanks to the support of Fundación Sobrevivientes and that of the women’s family members, those who
bore their loses with strength and never faltered in the fight for justice.
Production: Carlos Bernardo Euler Coy and Mishad Orlandini
Press: Lucía Escobar
Photography: Ameno Córdoba
Vídeo: José JuárezPresence 2017
I do not want to put myself in others’ shoes
I want to put myself in their dresses.
Patricia, Saira, María de Jesús, Cindy, Sandra, Carmen, Ruth, Mindi, Florence,
Kenia, Velvet, Flor de María, Karen. All of these women had families, jobs, dreams;
they had plans for their lives. All of these women were silenced, violently ripped
from this earth. All of these women were murdered in Guatemala.
Each day around the world, hundreds of women die in violent ways, and dozens of
them die in Guatemala. According to figures from INACIF (Instituto Nacional de
Ciencias Forenses) and Fundación Sobrevivientes over a five year period 3,585
cases of murdered women were reported in Guatemala. Many of these crimes were
committed by a woman’s partner or ex-partner. The majority of these cases remain
in states of impunity.
Presencia was a performance project over a period of thirteen days during which I
wore the dresses of thirteen women who were murdered in Guatemala. I remained
still each day for two hours, invoking each woman’s presence.
This project was made possible thanks to the support of Fundación Sobrevivientes and that of the women’s family members, those who
bore their loses with strength and never faltered in the fight for justice.
Production: Carlos Bernardo Euler Coy and Mishad Orlandini
Press: Lucía Escobar
Photography: Ameno Córdoba
Vídeo: José JuárezPresence 2017
I do not want to put myself in others’ shoes
I want to put myself in their dresses.
Patricia, Saira, María de Jesús, Cindy, Sandra, Carmen, Ruth, Mindi, Florence,
Kenia, Velvet, Flor de María, Karen. All of these women had families, jobs, dreams;
they had plans for their lives. All of these women were silenced, violently ripped
from this earth. All of these women were murdered in Guatemala.
Each day around the world, hundreds of women die in violent ways, and dozens of
them die in Guatemala. According to figures from INACIF (Instituto Nacional de
Ciencias Forenses) and Fundación Sobrevivientes over a five year period 3,585
cases of murdered women were reported in Guatemala. Many of these crimes were
committed by a woman’s partner or ex-partner. The majority of these cases remain
in states of impunity.
Presencia was a performance project over a period of thirteen days during which I
wore the dresses of thirteen women who were murdered in Guatemala. I remained
still each day for two hours, invoking each woman’s presence.
This project was made possible thanks to the support of Fundación Sobrevivientes and that of the women’s family members, those who
bore their loses with strength and never faltered in the fight for justice.
Production: Carlos Bernardo Euler Coy and Mishad Orlandini
Press: Lucía Escobar
Photography: Ameno Córdoba
Vídeo: José JuárezPresence 2017
I do not want to put myself in others’ shoes
I want to put myself in their dresses.
Patricia, Saira, María de Jesús, Cindy, Sandra, Carmen, Ruth, Mindi, Florence,
Kenia, Velvet, Flor de María, Karen. All of these women had families, jobs, dreams;
they had plans for their lives. All of these women were silenced, violently ripped
from this earth. All of these women were murdered in Guatemala.
Each day around the world, hundreds of women die in violent ways, and dozens of
them die in Guatemala. According to figures from INACIF (Instituto Nacional de
Ciencias Forenses) and Fundación Sobrevivientes over a five year period 3,585
cases of murdered women were reported in Guatemala. Many of these crimes were
committed by a woman’s partner or ex-partner. The majority of these cases remain
in states of impunity.
Presencia was a performance project over a period of thirteen days during which I
wore the dresses of thirteen women who were murdered in Guatemala. I remained
still each day for two hours, invoking each woman’s presence.
This project was made possible thanks to the support of Fundación Sobrevivientes and that of the women’s family members, those who
bore their loses with strength and never faltered in the fight for justice.
Production: Carlos Bernardo Euler Coy and Mishad Orlandini
Press: Lucía Escobar
Photography: Ameno Córdoba
Vídeo: José JuárezPresence 2017
I do not want to put myself in others’ shoes
I want to put myself in their dresses.
Patricia, Saira, María de Jesús, Cindy, Sandra, Carmen, Ruth, Mindi, Florence,
Kenia, Velvet, Flor de María, Karen. All of these women had families, jobs, dreams;
they had plans for their lives. All of these women were silenced, violently ripped
from this earth. All of these women were murdered in Guatemala.
Each day around the world, hundreds of women die in violent ways, and dozens of
them die in Guatemala. According to figures from INACIF (Instituto Nacional de
Ciencias Forenses) and Fundación Sobrevivientes over a five year period 3,585
cases of murdered women were reported in Guatemala. Many of these crimes were
committed by a woman’s partner or ex-partner. The majority of these cases remain
in states of impunity.
Presencia was a performance project over a period of thirteen days during which I
wore the dresses of thirteen women who were murdered in Guatemala. I remained
still each day for two hours, invoking each woman’s presence.
This project was made possible thanks to the support of Fundación Sobrevivientes and that of the women’s family members, those who
bore their loses with strength and never faltered in the fight for justice.
Production: Carlos Bernardo Euler Coy and Mishad Orlandini
Press: Lucía Escobar
Photography: Ameno Córdoba
Vídeo: José JuárezPresence 2017
I do not want to put myself in others’ shoes
I want to put myself in their dresses.
Patricia, Saira, María de Jesús, Cindy, Sandra, Carmen, Ruth, Mindi, Florence,
Kenia, Velvet, Flor de María, Karen. All of these women had families, jobs, dreams;
they had plans for their lives. All of these women were silenced, violently ripped
from this earth. All of these women were murdered in Guatemala.
Each day around the world, hundreds of women die in violent ways, and dozens of
them die in Guatemala. According to figures from INACIF (Instituto Nacional de
Ciencias Forenses) and Fundación Sobrevivientes over a five year period 3,585
cases of murdered women were reported in Guatemala. Many of these crimes were
committed by a woman’s partner or ex-partner. The majority of these cases remain
in states of impunity.
Presencia was a performance project over a period of thirteen days during which I
wore the dresses of thirteen women who were murdered in Guatemala. I remained
still each day for two hours, invoking each woman’s presence.
This project was made possible thanks to the support of Fundación Sobrevivientes and that of the women’s family members, those who
bore their loses with strength and never faltered in the fight for justice.
Production: Carlos Bernardo Euler Coy and Mishad Orlandini
Press: Lucía Escobar
Photo: Juan Esteban Calderón
Vídeo: José JuárezPresence 2017
I do not want to put myself in others’ shoes
I want to put myself in their dresses.
Patricia, Saira, María de Jesús, Cindy, Sandra, Carmen, Ruth, Mindi, Florence,
Kenia, Velvet, Flor de María, Karen. All of these women had families, jobs, dreams;
they had plans for their lives. All of these women were silenced, violently ripped
from this earth. All of these women were murdered in Guatemala.
Each day around the world, hundreds of women die in violent ways, and dozens of
them die in Guatemala. According to figures from INACIF (Instituto Nacional de
Ciencias Forenses) and Fundación Sobrevivientes over a five year period 3,585
cases of murdered women were reported in Guatemala. Many of these crimes were
committed by a woman’s partner or ex-partner. The majority of these cases remain
in states of impunity.
Presencia was a performance project over a period of thirteen days during which I
wore the dresses of thirteen women who were murdered in Guatemala. I remained
still each day for two hours, invoking each woman’s presence.
This project was made possible thanks to the support of Fundación Sobrevivientes and that of the women’s family members, those who
bore their loses with strength and never faltered in the fight for justice.
Production: Carlos Bernardo Euler Coy and Mishad Orlandini
Press: Lucía Escobar
Photo: Juan Esteban Calderón
Vídeo: José Juárez
Presence 2017
I do not want to put myself in others’ shoes
I want to put myself in their dresses.
Patricia, Saira, María de Jesús, Cindy, Sandra, Carmen, Ruth, Mindi, Florence,
Kenia, Velvet, Flor de María, Karen. All of these women had families, jobs, dreams;
they had plans for their lives. All of these women were silenced, violently ripped
from this earth. All of these women were murdered in Guatemala.
Each day around the world, hundreds of women die in violent ways, and dozens of
them die in Guatemala. According to figures from INACIF (Instituto Nacional de
Ciencias Forenses) and Fundación Sobrevivientes over a five year period 3,585
cases of murdered women were reported in Guatemala. Many of these crimes were
committed by a woman’s partner or ex-partner. The majority of these cases remain
in states of impunity.
Presencia was a performance project over a period of thirteen days during which I
wore the dresses of thirteen women who were murdered in Guatemala. I remained
still each day for two hours, invoking each woman’s presence.
This project was made possible thanks to the support of Fundación Sobrevivientes and that of the women’s family members, those who
bore their loses with strength and never faltered in the fight for justice.
Production: Carlos Bernardo Euler Coy and Mishad Orlandini
Press: Lucía Escobar
Photo: Juan Esteban Calderón
Vídeo: José JuárezPresence 2017
I do not want to put myself in others’ shoes
I want to put myself in their dresses.
Patricia, Saira, María de Jesús, Cindy, Sandra, Carmen, Ruth, Mindi, Florence,
Kenia, Velvet, Flor de María, Karen. All of these women had families, jobs, dreams;
they had plans for their lives. All of these women were silenced, violently ripped
from this earth. All of these women were murdered in Guatemala.
Each day around the world, hundreds of women die in violent ways, and dozens of
them die in Guatemala. According to figures from INACIF (Instituto Nacional de
Ciencias Forenses) and Fundación Sobrevivientes over a five year period 3,585
cases of murdered women were reported in Guatemala. Many of these crimes were
committed by a woman’s partner or ex-partner. The majority of these cases remain
in states of impunity.
Presencia was a performance project over a period of thirteen days during which I
wore the dresses of thirteen women who were murdered in Guatemala. I remained
still each day for two hours, invoking each woman’s presence.
This project was made possible thanks to the support of Fundación Sobrevivientes and that of the women’s family members, those who
bore their loses with strength and never faltered in the fight for justice.
Production: Carlos Bernardo Euler Coy and Mishad Orlandini
Press: Lucía Escobar
Photo: Juan Esteban Calderón
Vídeo: José JuárezPresence 2017
I do not want to put myself in others’ shoes
I want to put myself in their dresses.
Patricia, Saira, María de Jesús, Cindy, Sandra, Carmen, Ruth, Mindi, Florence,
Kenia, Velvet, Flor de María, Karen. All of these women had families, jobs, dreams;
they had plans for their lives. All of these women were silenced, violently ripped
from this earth. All of these women were murdered in Guatemala.
Each day around the world, hundreds of women die in violent ways, and dozens of
them die in Guatemala. According to figures from INACIF (Instituto Nacional de
Ciencias Forenses) and Fundación Sobrevivientes over a five year period 3,585
cases of murdered women were reported in Guatemala. Many of these crimes were
committed by a woman’s partner or ex-partner. The majority of these cases remain
in states of impunity.
Presencia was a performance project over a period of thirteen days during which I
wore the dresses of thirteen women who were murdered in Guatemala. I remained
still each day for two hours, invoking each woman’s presence.
This project was made possible thanks to the support of Fundación Sobrevivientes and that of the women’s family members, those who
bore their loses with strength and never faltered in the fight for justice.
Production: Carlos Bernardo Euler Coy and Mishad Orlandini
Press: Lucía Escobar
Photo: Juan Esteban Calderón
Vídeo: José JuárezPresence 2017
I do not want to put myself in others’ shoes
I want to put myself in their dresses.
Patricia, Saira, María de Jesús, Cindy, Sandra, Carmen, Ruth, Mindi, Florence,
Kenia, Velvet, Flor de María, Karen. All of these women had families, jobs, dreams;
they had plans for their lives. All of these women were silenced, violently ripped
from this earth. All of these women were murdered in Guatemala.
Each day around the world, hundreds of women die in violent ways, and dozens of
them die in Guatemala. According to figures from INACIF (Instituto Nacional de
Ciencias Forenses) and Fundación Sobrevivientes over a five year period 3,585
cases of murdered women were reported in Guatemala. Many of these crimes were
committed by a woman’s partner or ex-partner. The majority of these cases remain
in states of impunity.
Presencia was a performance project over a period of thirteen days during which I
wore the dresses of thirteen women who were murdered in Guatemala. I remained
still each day for two hours, invoking each woman’s presence.
This project was made possible thanks to the support of Fundación Sobrevivientes and that of the women’s family members, those who
bore their loses with strength and never faltered in the fight for justice.
Production: Carlos Bernardo Euler Coy and Mishad Orlandini
Press: Lucía Escobar
Photo: Juan Esteban Calderón
Vídeo: José JuárezPresence 2017
I do not want to put myself in others’ shoes
I want to put myself in their dresses.
Patricia, Saira, María de Jesús, Cindy, Sandra, Carmen, Ruth, Mindi, Florence,
Kenia, Velvet, Flor de María, Karen. All of these women had families, jobs, dreams;
they had plans for their lives. All of these women were silenced, violently ripped
from this earth. All of these women were murdered in Guatemala.
Each day around the world, hundreds of women die in violent ways, and dozens of
them die in Guatemala. According to figures from INACIF (Instituto Nacional de
Ciencias Forenses) and Fundación Sobrevivientes over a five year period 3,585
cases of murdered women were reported in Guatemala. Many of these crimes were
committed by a woman’s partner or ex-partner. The majority of these cases remain
in states of impunity.
Presencia was a performance project over a period of thirteen days during which I
wore the dresses of thirteen women who were murdered in Guatemala. I remained
still each day for two hours, invoking each woman’s presence.
This project was made possible thanks to the support of Fundación Sobrevivientes and that of the women’s family members, those who
bore their loses with strength and never faltered in the fight for justice.
Production: Carlos Bernardo Euler Coy and Mishad Orlandini
Press: Lucía Escobar
Photo: Juan Esteban Calderón
Vídeo: José JuárezAscención (Ascension) 2016
Ascensión is a private performance in the Church of Chiesa di San Matteo in Lucca, Italy.
The performance is a tribute to the Q’eqchies
women, to their fight, and to their courage. The 10 meter long perraje was handmade by Guatemalan Maya women specifically for this
occasion.
Special thanks for Moni Oseida for her support in achieving this project.
Photography Veronica Alessi, Duccio Lucchesi.
(San Matteo. Lucca, Italy. 2016)
La siesta (The Nap) 2016
Single channel video
12:08 min
I fall into a deep sleep after drinking 10 ml of a sedative that is commonly used to carry out silenced
rapes. Two men violently wake me up, throwing a bucket of freezing water in my face.
Curators: Eugenio Viola & Angel Moya García.
Photography: Marco Nari.
Part of the Festival de Performance: Sui Generis.
(San Matteo Church, Lucca, Italy. 2016)La Intención 2016
… but woman is a wheedling and secret enemy. And that she is more perilous than a snare does not speak of the snare of hunters traps, but of devils. For men are caught not only through their carnal desires, when they see and hear women; for St. Bernard says: “Their face is a burning wind, and their voice the hissing of serpents”; but they also cast wicked spells on countless men and animals. And when it is said that her heart is a net, it speaks of the inscrutable malice which reigns in their hearts. And her hands are as bands for binding; for when they place their hands on a creature to bewitch it, then with the help of the devil, they perform their design..
– Malleus Maleficarum.
Heinrich Kramer & Jacobus Sprenger.
Germany, 1487.
(The Malleus Maleficarum generally translated as Hammer of Witches is the most important and well known treaty of witchcraft, written by Catholic clergyman Heinrich Krämer (Henricus Institoris) and originally published in 1487 in the German city of Speyer. The book supports extermination of witches and for this he develops a detailed legal and theological theory that today is perceived as misogynistic).
For one reason or another, diverse cultures have historically reacted in a collective manner to judge and accuse other individuals, generally out of fear From this fear they have repressed, attacked, punished and even murdered those who are suspected as guilty.. During the inquisition the witch hunt was a phenomenon of Central Europe where women were persecuted under false accusations; the single doubt, was already sufficient reason for their condemnation.
Nowadays witch hunts occur in other ways.
Curated by Giacomo Zaza.
Production: Fondazione Fòcara di Novoli (Novoli, Lecce).
Coordination: Claudio De Blasi, Loris Romano.
Participants Claudio De Blasi, Mary Bolognese, Mimma Sozzo, Raffaella Arnesano, Patrizia Diamante, Giovanna de Nigris.
Filming Passo Uno Produzioni (Marco Conoci, Diego Silvestri, Valeria Schifeo, Salvatore Caracuta).
Director of Filming: Gianni De Blasi.
José Enrique Juárez Edition.
Photography: Annamaria La Mastra.
Novoli, Lecce, Italy.
La intención 2016
… but woman is a wheedling and secret enemy. And that she is more perilous than a snare does not speak of the snare of hunters traps, but of devils. For men are caught not only through their carnal desires, when they see and hear women; for St. Bernard says: “Their face is a burning wind, and their voice the hissing of serpents”; but they also cast wicked spells on countless men and animals. And when it is said that her heart is a net, it speaks of the inscrutable malice which reigns in their hearts. And her hands are as bands for binding; for when they place their hands on a creature to bewitch it, then with the help of the devil, they perform their design..
– Malleus Maleficarum.
Heinrich Kramer & Jacobus Sprenger.
Germany, 1487.
(The Malleus Maleficarum generally translated as Hammer of Witches is the most important and well known treaty of witchcraft, written by Catholic clergyman Heinrich Krämer (Henricus Institoris) and originally published in 1487 in the German city of Speyer. The book supports extermination of witches and for this he develops a detailed legal and theological theory that today is perceived as misogynistic).
For one reason or another, diverse cultures have historically reacted in a collective manner to judge and accuse other individuals, generally out of fear From this fear they have repressed, attacked, punished and even murdered those who are suspected as guilty.. During the inquisition the witch hunt was a phenomenon of Central Europe where women were persecuted under false accusations; the single doubt, was already sufficient reason for their condemnation.
Nowadays witch hunts occur in other ways.
Curated by: Giacomo Zaza.
Production: Fondazione Fòcara di Novoli (Novoli, Lecce).
Coordination: Claudio De Blasi, Loris Romano.
Participants Claudio De Blasi, Mary Bolognese, Mimma Sozzo, Raffaella Arnesano, Patrizia Diamante, Giovanna de Nigris.
Filming Passo Uno Produzioni (Marco Conoci, Diego Silvestri, Valeria Schifeo, Salvatore Caracuta).
Director of Filming: Gianni De Blasi.
José Enrique Juárez Edition.
Photography: Annamaria La Mastra.
Novoli, Lecce, Italy.
Aún no somos escombros 2016
Trümmerfrauen
No one wants a new war.
No one wants to think that the horrors of the past are possible again.
No one wants to think that the future might not come.
I stand buried in a volcano made of rubble with only my head showing. A group of German women of various ages, takes away the stones, one by one, until a space is opened up that allows me to escape.
Originally commissioned and produced by: What Time Is It on the Clock of the World * / What Time is it on the World Clock * International Festival on Feminism and Public Space.
Organized by: Stadtkuratorin Hamburg. An initiative project of Free and Hanseatic City of Hamburg and CTC. Curating the City / Curando la Ciudad.
Artistic Direction: Sophie Goltz.
Jakob Deutsch Chamber, Josefina Gill.
José Enrique Juárez Edition.
Photography: Frank Egel.
Special thanks to: Almuth Anders, Beate Anspach, Papia Bandyopadhyay, Dario Barcalay, Bautechnik Jörss-Blunck-Ordemann, Francesca Bertin, Bezirksamt Hamburg-Mitte, Finn Brüggemann, Buhck Umweltservices GmbH & Co. KG, Doris de Feyter, Michael Franke, Michael Franke, Michael Franke, Michael Franke , Hamburger Hochbahn AG, Hamburg Wasser, Christoph Hauttmann, Frank Heyder, Björn Jungjohann, Naima Kanzeri, Jörg Knopf, Andreas Kohlen, Filomena Krause, Lila-Zoe Krauß, Sara Kuhnt, Alexey Markin, MBV. Baustellen- und Verkehrsabsicherung, Nina Ozan, Franziska Paulu, Klaus Peters, PK 143 StVB-City, Ardalan Razavieh, Anne-Kathrin Reinberg, Christian Rudolph, Sven Schiller, Simon Schmitz, Anna Schönbeck, Garlef Schubert, Uli Schwerwinsky, Stadtreinigung Hamburg, Stadtreinigung Hamburg Tielke, Nuriye Tohermes, Hengameh Yaghoobifarah, Andreas Zimmermann.
Hamburg, Germany.
Aún no somos escombros 2016
Trümmerfrauen
No one wants a new war.
No one wants to think that the horrors of the past are possible again.
No one wants to think that the future might not come
.
I stand buried in a volcano made of rubble with only my head showing. A group of German women of various ages, takes away the stones, one by one, until a space is opened up that allows me to escape.
Originally commissioned and produced by: What Time Is It on the Clock of the World * / What Time is it on the World Clock * International Festival on Feminism and Public Space.
Organized by: Stadtkuratorin Hamburg. An initiative project of Free and Hanseatic City of Hamburg and CTC. Curating the City / Curando la Ciudad.
Artistic Direction: Sophie Goltz.
Jakob Deutsch Chamber, Josefina Gill.
José Enrique Juárez Edition.
Photography: Frank Egel.
Special thanks to Almuth Anders, Beate Anspach, Papia Bandyopadhyay, Dario Barcalay, Bautechnik Jörss-Blunck-Ordemann, Francesca Bertin, Bezirksamt Hamburg-Mitte, Finn Brüggemann, Buhck Umweltservices GmbH & Co. KG, Doris de Feyter, Michael Franke, Michael Franke, Michael Franke, Michael Franke , Hamburger Hochbahn AG, Hamburg Wasser, Christoph Hauttmann, Frank Heyder, Björn Jungjohann, Naima Kanzeri, Jörg Knopf, Andreas Kohlen, Filomena Krause, Lila-Zoe Krauß, Sara Kuhnt, Alexey Markin, MBV. Baustellen- und Verkehrsabsicherung, Nina Ozan, Franziska Paulu, Klaus Peters, PK 143 StVB-City, Ardalan Razavieh, Anne-Kathrin Reinberg, Christian Rudolph, Sven Schiller, Simon Schmitz, Anna Schönbeck, Garlef Schubert, Uli Schwerwinsky, Stadtreinigung Hamburg, Stadtreinigung Hamburg Tielke, Nuriye Tohermes, Hengameh Yaghoobifarah, Andreas Zimmermann.
Hamburg, Germany.
Nadie atraviesa la región sin ensuciarse
(No One Goes Through the Region Without Getting Dirty) 2015
Single channel video
05:28 min
Let’s not speak from the surface
so
-the wordwill have weight.
In Central America, it is always spring, just as there is always conflict, always fighting. We live inundated,
bogged down. To cross Central America you must cross death to reach life. Today, Miami is a city that
watches and lives with new eyes, but thirty years ago, violent crime fueled by drug trafficking devastated
the city.
In the 1980s, Miami was still a swamp city.
Transformation of the exhibition space into a swamp. I remain buried inside the mud with only my head showing, so that I can breathe. To reach me, the audience must cross the swamp, they must muddy their feet.
The next day, the symposium Central What? was held, as part of the Dialogic CENTRALsolutions event.
During the event, the participants also had to walk through the mud.
Curator Roc Laseca.
Photography Jorge Chirinos and Alan Gutiérrez.
(Art Center South Florida. Miami, United States. 2015)Dessert 2015
Single channel video
14:53 min
We turn the interior of the gallery into a desert
Instead of sand, we use wood sawdust
I remain buried in the dunes.
Commissioned and produced by: Gabriela Mistral Gallery, Santiago de Chile
Curator: Soledad Novoa Donoso
Video: Andrés Lima and Sebastián Pando
Photos: Rodrigo Maulen
Santiago, ChileRoots 2015
Specially designed for the Botanical Garden of Palermo, it recovers the relationship with nature. The Garden for its particular position creates a link between the sea and the city, natural microcosm, universal garden where species of all origins coexist. It is here that I, together with a group of migrants of 20 different nationalities, cling to the roots of trees and plants that correspond to the origin of each of us.
The performance focuses on the broader meaning of uprooting: and proposes a reflection based on the parallelism between plants around the world present in the Botanical Garden (many here illegally transported since the late eighteenth century) that today make up the landscape of the Garden – and foreign communities rooted in Palermo.
The action aims to reflect on how the human being could live peacefully despite the differences, set roots in any context and grow in harmony with the environment and with other communities. No matter where we come from, we can live together because together we constitute a common origin that adds to diversity.
Idea and coordination of: the Antonio Leone project.
Curated by: Giulia Ingarao, Paola Nicita, Diego Sileo.
Curator of plants in botanist Manlio Speciale.
Sergio Farfalla video.
Photography: Sergio Farfalla and Emanuele Lo Cascio.
Special thanks to all volunteers. Roots 2015
(Volunteer: Lusiana Libidov, Romania)
Specially designed for the Botanical Garden of Palermo, it recovers the relationship with nature. The Garden for its particular position creates a link between the sea and the city, natural microcosm, universal garden where species of all origins coexist. It is here that I, together with a group of migrants of 20 different nationalities, cling to the roots of trees and plants that correspond to the origin of each of us.
The performance focuses on the broader meaning of uprooting: and proposes a reflection based on the parallelism between plants around the world present in the Botanical Garden (many here illegally transported since the late eighteenth century) that today make up the landscape of the Garden – and foreign communities rooted in Palermo.
The action aims to reflect on how the human being could live peacefully despite the differences, set roots in any context and grow in harmony with the environment and with other communities. No matter where we come from, we can live together because together we constitute a common origin that adds to diversity.
Idea and coordination of: the Antonio Leone project.
Curated by: Giulia Ingarao, Paola Nicita, Diego Sileo.
Curator of plants in botanist Manlio Speciale.
Sergio Farfalla video.
Photography: Sergio Farfalla and Emanuele Lo Cascio.
Special thanks to all volunteers.
Roots 2015
(Volunteer: Neonila Adgezalova, Ucrania)
Specially designed for the Botanical Garden of Palermo, it recovers the relationship with nature. The Garden for its particular position creates a link between the sea and the city, natural microcosm, universal garden where species of all origins coexist. It is here that I, together with a group of migrants of 20 different nationalities, cling to the roots of trees and plants that correspond to the origin of each of us.
The performance focuses on the broader meaning of uprooting: and proposes a reflection based on the parallelism between plants around the world present in the Botanical Garden (many here illegally transported since the late eighteenth century) that today make up the landscape of the Garden – and foreign communities rooted in Palermo.
The action aims to reflect on how the human being could live peacefully despite the differences, set roots in any context and grow in harmony with the environment and with other communities. No matter where we come from, we can live together because together we constitute a common origin that adds to diversity.
Idea and coordination of: the Antonio Leone project.
Curated by: Giulia Ingarao, Paola Nicita, Diego Sileo.
Curator of plants in botanist Manlio Speciale.
Sergio Farfalla video.
Photography: Sergio Farfalla and Emanuele Lo Cascio.
Special thanks to all volunteers. Roots 2015
(Volunteer: Patrycja Stefanek, Polonia)
Specially designed for the Botanical Garden of Palermo, it recovers the relationship with nature. The Garden for its particular position creates a link between the sea and the city, natural microcosm, universal garden where species of all origins coexist. It is here that I, together with a group of migrants of 20 different nationalities, cling to the roots of trees and plants that correspond to the origin of each of us.
The performance focuses on the broader meaning of uprooting: and proposes a reflection based on the parallelism between plants around the world present in the Botanical Garden (many here illegally transported since the late eighteenth century) that today make up the landscape of the Garden – and foreign communities rooted in Palermo.
The action aims to reflect on how the human being could live peacefully despite the differences, set roots in any context and grow in harmony with the environment and with other communities. No matter where we come from, we can live together because together we constitute a common origin that adds to diversity.
Idea and coordination of: the Antonio Leone project.
Curated by: Giulia Ingarao, Paola Nicita, Diego Sileo.
Curator of plants in botanist Manlio Speciale.
Sergio Farfalla video.
Photography: Sergio Farfalla and Emanuele Lo Cascio.
Special thanks to all volunteers.
Roots 2015
(Volunteer: Sandra Boakye, Ghana)
Specially designed for the Botanical Garden of Palermo, it recovers the relationship with nature. The Garden for its particular position creates a link between the sea and the city, natural microcosm, universal garden where species of all origins coexist. It is here that I, together with a group of migrants of 20 different nationalities, cling to the roots of trees and plants that correspond to the origin of each of us.
The performance focuses on the broader meaning of uprooting: and proposes a reflection based on the parallelism between plants around the world present in the Botanical Garden (many here illegally transported since the late eighteenth century) that today make up the landscape of the Garden – and foreign communities rooted in Palermo.
The action aims to reflect on how the human being could live peacefully despite the differences, set roots in any context and grow in harmony with the environment and with other communities. No matter where we come from, we can live together because together we constitute a common origin that adds to diversity.
Idea and coordination of: the Antonio Leone project.
Curated by: Giulia Ingarao, Paola Nicita, Diego Sileo.
Curator of plants in botanist Manlio Speciale.
Sergio Farfalla video.
Photography: Sergio Farfalla and Emanuele Lo Cascio.
Special thanks to all volunteers.
Roots 2015
(Volunteer: Kali Jones, Francia)
Specially designed for the Botanical Garden of Palermo, it recovers the relationship with nature. The Garden for its particular position creates a link between the sea and the city, natural microcosm, universal garden where species of all origins coexist. It is here that I, together with a group of migrants of 20 different nationalities, cling to the roots of trees and plants that correspond to the origin of each of us.
The performance focuses on the broader meaning of uprooting: and proposes a reflection based on the parallelism between plants around the world present in the Botanical Garden (many here illegally transported since the late eighteenth century) that today make up the landscape of the Garden – and foreign communities rooted in Palermo.
The action aims to reflect on how the human being could live peacefully despite the differences, set roots in any context and grow in harmony with the environment and with other communities. No matter where we come from, we can live together because together we constitute a common origin that adds to diversity.
Idea and coordination of: the Antonio Leone project.
Curated by: Giulia Ingarao, Paola Nicita, Diego Sileo.
Curator of plants in botanist Manlio Speciale.
Sergio Farfalla video.
Photography: Sergio Farfalla and Emanuele Lo Cascio.
Special thanks to all volunteers.
Roots 2015
(Volunteer, Mari Dilusya Philippu Rasa, Sri Lanka)
Specially designed for the Botanical Garden of Palermo, it recovers the relationship with nature. The Garden for its particular position creates a link between the sea and the city, natural microcosm, universal garden where species of all origins coexist. It is here that I, together with a group of migrants of 20 different nationalities, cling to the roots of trees and plants that correspond to the origin of each of us.
The performance focuses on the broader meaning of uprooting: and proposes a reflection based on the parallelism between plants around the world present in the Botanical Garden (many here illegally transported since the late eighteenth century) that today make up the landscape of the Garden – and foreign communities rooted in Palermo.
The action aims to reflect on how the human being could live peacefully despite the differences, set roots in any context and grow in harmony with the environment and with other communities. No matter where we come from, we can live together because together we constitute a common origin that adds to diversity.
Idea and coordination of:
the Antonio Leone project.
Curated by: Giulia Ingarao, Paola Nicita, Diego Sileo.
Curator of plants in botanist Manlio Speciale.
Sergio Farfalla video.
Photography: Sergio Farfalla and Emanuele Lo Cascio.
Special thanks to all volunteers.
Roots 2015
(Volunteer: Sofia Mozian, Morocco)
Specially designed for the Botanical Garden of Palermo, it recovers the relationship with nature. The Garden for its particular position creates a link between the sea and the city, natural microcosm, universal garden where species of all origins coexist. It is here that I, together with a group of migrants of 20 different nationalities, cling to the roots of trees and plants that correspond to the origin of each of us.
The performance focuses on the broader meaning of uprooting: and proposes a reflection based on the parallelism between plants around the world present in the Botanical Garden (many here illegally transported since the late eighteenth century) that today make up the landscape of the Garden – and foreign communities rooted in Palermo.
The action aims to reflect on how the human being could live peacefully despite the differences, set roots in any context and grow in harmony with the environment and with other communities. No matter where we come from, we can live together because together we constitute a common origin that adds to diversity.
Idea and coordination of the Antonio Leone project.
Curated by: Giulia Ingarao, Paola Nicita, Diego Sileo.
Curator of plants in botanist Manlio Speciale.
Sergio Farfalla video.
Photography: Sergio Farfalla and Emanuele Lo Cascio.
Special thanks to all volunteers.Roots 2015
(Volunteer: Diego S. Paini, Argentina)
Specially designed for the Botanical Garden of Palermo, it recovers the relationship with nature. The Garden for its particular position creates a link between the sea and the city, natural microcosm, universal garden where species of all origins coexist. It is here that I, together with a group of migrants of 20 different nationalities, cling to the roots of trees and plants that correspond to the origin of each of us.
The performance focuses on the broader meaning of uprooting: and proposes a reflection based on the parallelism between plants around the world present in the Botanical Garden (many here illegally transported since the late eighteenth century) that today make up the landscape of the Garden – and foreign communities rooted in Palermo.
The action aims to reflect on how the human being could live peacefully despite the differences, set roots in any context and grow in harmony with the environment and with other communities. No matter where we come from, we can live together because together we constitute a common origin that adds to diversity.
Idea and coordination of: the Antonio Leone project.
Curated by: Giulia Ingarao, Paola Nicita, Diego Sileo.
Curator of plants in botanist Manlio Speciale.
Sergio Farfalla video.
Photography: Sergio Farfalla and Emanuele Lo Cascio.
Special thanks to all volunteers.
Roots 2015
(Volunteer: Elpidio Miniado, Philippines)
Specially designed for the Botanical Garden of Palermo, it recovers the relationship with nature. The Garden for its particular position creates a link between the sea and the city, natural microcosm, universal garden where species of all origins coexist. It is here that I, together with a group of migrants of 20 different nationalities, cling to the roots of trees and plants that correspond to the origin of each of us.
The performance focuses on the broader meaning of uprooting: and proposes a reflection based on the parallelism between plants around the world present in the Botanical Garden (many here illegally transported since the late eighteenth century) that today make up the landscape of the Garden – and foreign communities rooted in Palermo.
The action aims to reflect on how the human being could live peacefully despite the differences, set roots in any context and grow in harmony with the environment and with other communities. No matter where we come from, we can live together because together we constitute a common origin that adds to diversity.
Idea and coordination of:
the Antonio Leone project.
Curated by: Giulia Ingarao, Paola Nicita, Diego Sileo.
Curator of plants in botanist Manlio Speciale.
Sergio Farfalla video.
Photography: Sergio Farfalla and Emanuele Lo Cascio.
Special thanks to all volunteers.Roots 2015
(Volunteer: Andy Samoisy, Mauritius)
Specially designed for the Botanical Garden of Palermo, it recovers the relationship with nature. The Garden for its particular position creates a link between the sea and the city, natural microcosm, universal garden where species of all origins coexist. It is here that I, together with a group of migrants of 20 different nationalities, cling to the roots of trees and plants that correspond to the origin of each of us.
The performance focuses on the broader meaning of uprooting: and proposes a reflection based on the parallelism between plants around the world present in the Botanical Garden (many here illegally transported since the late eighteenth century) that today make up the landscape of the Garden – and foreign communities rooted in Palermo.
The action aims to reflect on how the human being could live peacefully despite the differences, set roots in any context and grow in harmony with the environment and with other communities. No matter where we come from, we can live together because together we constitute a common origin that adds to diversity.
Idea and coordination of:
the Antonio Leone project.
Curated by: Giulia Ingarao, Paola Nicita, Diego Sileo.
Curator of plants in botanist Manlio Speciale.
Sergio Farfalla video.
Photography: Sergio Farfalla and Emanuele Lo Cascio.
Special thanks to all volunteers.Roots 2015
(Volunteer: Amadou Ba, Guinea)
Specially designed for the Botanical Garden of Palermo, it recovers the relationship with nature. The Garden for its particular position creates a link between the sea and the city, natural microcosm, universal garden where species of all origins coexist. It is here that I, together with a group of migrants of 20 different nationalities, cling to the roots of trees and plants that correspond to the origin of each of us.
The performance focuses on the broader meaning of uprooting: and proposes a reflection based on the parallelism between plants around the world present in the Botanical Garden (many here illegally transported since the late eighteenth century) that today make up the landscape of the Garden – and foreign communities rooted in Palermo.
The action aims to reflect on how the human being could live peacefully despite the differences, set roots in any context and grow in harmony with the environment and with other communities. No matter where we come from, we can live together because together we constitute a common origin that adds to diversity.
Idea and coordination of: the Antonio Leone project.
Curated by: Giulia Ingarao, Paola Nicita, Diego Sileo.
Curator of plants in botanist Manlio Speciale.
Sergio Farfalla video.
Photography: Sergio Farfalla and Emanuele Lo Cascio.
Special thanks to all volunteers.Roots 2015
(Volunteer: Han Xinli, China)
Specially designed for the Botanical Garden of Palermo, it recovers the relationship with nature. The Garden for its particular position creates a link between the sea and the city, natural microcosm, universal garden where species of all origins coexist. It is here that I, together with a group of migrants of 20 different nationalities, cling to the roots of trees and plants that correspond to the origin of each of us.
The performance focuses on the broader meaning of uprooting: and proposes a reflection based on the parallelism between plants around the world present in the Botanical Garden (many here illegally transported since the late eighteenth century) that today make up the landscape of the Garden – and foreign communities rooted in Palermo.
The action aims to reflect on how the human being could live peacefully despite the differences, set roots in any context and grow in harmony with the environment and with other communities. No matter where we come from, we can live together because together we constitute a common origin that adds to diversity.
Idea and coordination of:
the Antonio Leone project.
Curated by: Giulia Ingarao, Paola Nicita, Diego Sileo.
Curator of plants in botanist Manlio Speciale.
Sergio Farfalla video.
Photography: Sergio Farfalla and Emanuele Lo Cascio.
Special thanks to all volunteers.Roots 2015
(Volunteer: Andrea Kantos, Svezia)
Specially designed for the Botanical Garden of Palermo, it recovers the relationship with nature. The Garden for its particular position creates a link between the sea and the city, natural microcosm, universal garden where species of all origins coexist. It is here that I, together with a group of migrants of 20 different nationalities, cling to the roots of trees and plants that correspond to the origin of each of us.
The performance focuses on the broader meaning of uprooting: and proposes a reflection based on the parallelism between plants around the world present in the Botanical Garden (many here illegally transported since the late eighteenth century) that today make up the landscape of the Garden – and foreign communities rooted in Palermo.
The action aims to reflect on how the human being could live peacefully despite the differences, set roots in any context and grow in harmony with the environment and with other communities. No matter where we come from, we can live together because together we constitute a common origin that adds to diversity.
Idea and coordination of: the Antonio Leone project.
Curated by: Giulia Ingarao, Paola Nicita, Diego Sileo.
Curator of plants in botanist Manlio Speciale.
Sergio Farfalla video.
Photography: Sergio Farfalla and Emanuele Lo Cascio.
Special thanks to all volunteers.Roots 2015
(Volunteer: Marjolein Wortmann, Holanda)
Specially designed for the Botanical Garden of Palermo, it recovers the relationship with nature. The Garden for its particular position creates a link between the sea and the city, natural microcosm, universal garden where species of all origins coexist. It is here that I, together with a group of migrants of 20 different nationalities, cling to the roots of trees and plants that correspond to the origin of each of us.
The performance focuses on the broader meaning of uprooting: and proposes a reflection based on the parallelism between plants around the world present in the Botanical Garden (many here illegally transported since the late eighteenth century) that today make up the landscape of the Garden – and foreign communities rooted in Palermo.
The action aims to reflect on how the human being could live peacefully despite the differences, set roots in any context and grow in harmony with the environment and with other communities. No matter where we come from, we can live together because together we constitute a common origin that adds to diversity.
Idea and coordination of:
the Antonio Leone project.
Curated by: Giulia Ingarao, Paola Nicita, Diego Sileo.
Curator of plants in botanist Manlio Speciale.
Sergio Farfalla video.
Photography: Sergio Farfalla and Emanuele Lo Cascio.
Special thanks to all volunteers.Roots 2015
(Volunteer Niamkey Awatchi, German)
Specially designed for the Botanical Garden of Palermo, it recovers the relationship with nature. The Garden for its particular position creates a link between the sea and the city, natural microcosm, universal garden where species of all origins coexist. It is here that I, together with a group of migrants of 20 different nationalities, cling to the roots of trees and plants that correspond to the origin of each of us.
The performance focuses on the broader meaning of uprooting: and proposes a reflection based on the parallelism between plants around the world present in the Botanical Garden (many here illegally transported since the late eighteenth century) that today make up the landscape of the Garden – and foreign communities rooted in Palermo.
The action aims to reflect on how the human being could live peacefully despite the differences, set roots in any context and grow in harmony with the environment and with other communities. No matter where we come from, we can live together because together we constitute a common origin that adds to diversity.
Idea and coordination of:
the Antonio Leone project.
Curated by: Giulia Ingarao, Paola Nicita, Diego Sileo.
Curator of plants in botanist Manlio Speciale.
Sergio Farfalla video.
Photography: Sergio Farfalla and Emanuele Lo Cascio.
Special thanks to all volunteers.Roots 2015
(Volunteer: Nahar Mosfiqun, Bangladesh)
Specially designed for the Botanical Garden of Palermo, it recovers the relationship with nature. The Garden for its particular position creates a link between the sea and the city, natural microcosm, universal garden where species of all origins coexist. It is here that I, together with a group of migrants of 20 different nationalities, cling to the roots of trees and plants that correspond to the origin of each of us.
The performance focuses on the broader meaning of uprooting: and proposes a reflection based on the parallelism between plants around the world present in the Botanical Garden (many here illegally transported since the late eighteenth century) that today make up the landscape of the Garden – and foreign communities rooted in Palermo.
The action aims to reflect on how the human being could live peacefully despite the differences, set roots in any context and grow in harmony with the environment and with other communities. No matter where we come from, we can live together because together we constitute a common origin that adds to diversity.
Idea and coordination of: the Antonio Leone project.
Curated by: Giulia Ingarao, Paola Nicita, Diego Sileo.
Curator of plants in botanist Manlio Speciale.
Sergio Farfalla video.
Photography: Sergio Farfalla and Emanuele Lo Cascio.
Special thanks to all volunteers.Roots 2015
(Volunteer: Claudia Di Gangi, Italia)
Specially designed for the Botanical Garden of Palermo, it recovers the relationship with nature. The Garden for its particular position creates a link between the sea and the city, natural microcosm, universal garden where species of all origins coexist. It is here that I, together with a group of migrants of 20 different nationalities, cling to the roots of trees and plants that correspond to the origin of each of us.
The performance focuses on the broader meaning of uprooting: and proposes a reflection based on the parallelism between plants around the world present in the Botanical Garden (many here illegally transported since the late eighteenth century) that today make up the landscape of the Garden – and foreign communities rooted in Palermo.
The action aims to reflect on how the human being could live peacefully despite the differences, set roots in any context and grow in harmony with the environment and with other communities. No matter where we come from, we can live together because together we constitute a common origin that adds to diversity.
Idea and coordination of:
the Antonio Leone project.
Curated by: Giulia Ingarao, Paola Nicita, Diego Sileo.
Curator of plants in botanist Manlio Speciale.
Sergio Farfalla video.
Photography: Sergio Farfalla and Emanuele Lo Cascio.
Special thanks to all volunteers.Roots 2015
(Volunteer: Ale Voutsinas, Grecia)
Specially designed for the Botanical Garden of Palermo, it recovers the relationship with nature. The Garden for its particular position creates a link between the sea and the city, natural microcosm, universal garden where species of all origins coexist. It is here that I, together with a group of migrants of 20 different nationalities, cling to the roots of trees and plants that correspond to the origin of each of us.
The performance focuses on the broader meaning of uprooting: and proposes a reflection based on the parallelism between plants around the world present in the Botanical Garden (many here illegally transported since the late eighteenth century) that today make up the landscape of the Garden – and foreign communities rooted in Palermo.
The action aims to reflect on how the human being could live peacefully despite the differences, set roots in any context and grow in harmony with the environment and with other communities. No matter where we come from, we can live together because together we constitute a common origin that adds to diversity.
Idea and coordination of: the Antonio Leone project.
Curated by: Giulia Ingarao, Paola Nicita, Diego Sileo.
Curator of plants in:
botanist Manlio Speciale.
Sergio Farfalla video.
Photography Sergio Farfalla and Emanuele Lo Cascio.
Special thanks to all volunteers. Roots 2015
(Volunteer: Laura Balcazar, Colombia)
Specially designed for the Botanical Garden of Palermo, it recovers the relationship with nature. The Garden for its particular position creates a link between the sea and the city, natural microcosm, universal garden where species of all origins coexist. It is here that I, together with a group of migrants of 20 different nationalities, cling to the roots of trees and plants that correspond to the origin of each of us.
The performance focuses on the broader meaning of uprooting: and proposes a reflection based on the parallelism between plants around the world present in the Botanical Garden (many here illegally transported since the late eighteenth century) that today make up the landscape of the Garden – and foreign communities rooted in Palermo.
The action aims to reflect on how the human being could live peacefully despite the differences, set roots in any context and grow in harmony with the environment and with other communities. No matter where we come from, we can live together because together we constitute a common origin that adds to diversity.
Idea and coordination of: the Antonio Leone project.
Curated by: Giulia Ingarao, Paola Nicita, Diego Sileo.
Curator of plants in botanist Manlio Speciale.
Sergio Farfalla video.
Photography: Sergio Farfalla and Emanuele Lo Cascio.
Special thanks to all volunteers. Roots 2015
(Volunteer: Mahbubur Rahman, Bangladesh)
Specially designed for the Botanical Garden of Palermo, it recovers the relationship with nature. The Garden for its particular position creates a link between the sea and the city, natural microcosm, universal garden where species of all origins coexist. It is here that I, together with a group of migrants of 20 different nationalities, cling to the roots of trees and plants that correspond to the origin of each of us.
The performance focuses on the broader meaning of uprooting: and proposes a reflection based on the parallelism between plants around the world present in the Botanical Garden (many here illegally transported since the late eighteenth century) that today make up the landscape of the Garden – and foreign communities rooted in Palermo.
The action aims to reflect on how the human being could live peacefully despite the differences, set roots in any context and grow in harmony with the environment and with other communities. No matter where we come from, we can live together because together we constitute a common origin that adds to diversity.
Idea and coordination of: the Antonio Leone project.
Curated by: Giulia Ingarao, Paola Nicita, Diego Sileo.
Curator of plants in botanist Manlio Speciale.
Sergio Farfalla video.
Photography: Sergio Farfalla and Emanuele Lo Cascio.
Special thanks to all volunteers.Estoy Viva (I’m Alive) 2014
Metal and paint
9.8 x 66.9 inEstoy viva 2014
Digital print on paper
39.4 x 59 in
I am completely anesthetized, and lay still upon a white base. The audience is free to check my breathing with a small mirror to confirm that I am alive.
Produced by: PAC – Padiglione d’Arte Contemporanea. During the period of the exhibition Estoy Viva.
Curator: Diego Sileo & Eugenio Viola.
Video & Photography: Andrea Sartori.
Editing: José Enrique Juárez.
(Milano, Italy. 2014)Suelo común (Common Ground) 2013
Performance documentation
Mostec, Slovenia – Under the corn fields, de ski slopes, and the Slovenian school playgrounds, skulls,
bones, and teeth are found – the remains of thousands of people whose destinies have been lost for
many decades.
By Snjezana Vukic, The Associated Press.
Down
Under
Subsoil
Underworlds
Underground
There they hide, away from reality, away from our reality.
We walk over their remains without realizing it, they are the land that sustain us, where we are really standing.
In Guatemala, as in Slovenia, hundreds of mass graves occupy our territories. In Slovenia, as in Guatemala, we are standing over a hidden past, of which little is said, which we refuse to unearth.
Curator: Yasmín Martín Vodopivec
Photography: Jaka Babnik
(Commissioned and produced by the International Centre of Graphic Arts / Aleš Bracović. Slovenia.
2013)Combustible 2014
“Three months of Ebola can fix the global population explosion and stop mass immigration.”
– Jean-Marie Le Pen.
“We are being invaded. I wish people could talk about our border in the same way they talk about the Israeli border.”
– Ann Coulter.
The strength of immigrants as an engine for a society to move forward.
The strength of immigrants like gasoline, fuel.
In the city of Santo Domingo, eight people of Haitian origin, push a collective taxi that makes its daily route, without gasoline.
Video: José Juárez.
Photography: David Perez.
With the support of the Cultural Center of Spain of Santo Domingo and Artestudio.
Santo Domingo, Dominican Republic.
Combustible 2014
“Three months of Ebola can fix the global population explosion and stop mass immigration.”
– Jean-Marie Le Pen.
“We are being invaded. I wish people could talk about our border in the same way they talk about the Israeli border.”
– Ann Coulter.
The strength of immigrants as an engine for a society to move forward.
The strength of immigrants like gasoline, fuel.
In the city of Santo Domingo, eight people of Haitian origin, push a collective taxi that makes its daily route, without gasoline.
Video: José Juárez.
Photography: David Perez.
With the support of the Cultural Center of Spain of Santo Domingo and Artestudio.
Santo Domingo, Dominican Republic.Combustible 2014
“Three months of Ebola can fix the global population explosion and stop mass immigration.”
– Jean-Marie Le Pen.
“We are being invaded. I wish people could talk about our border in the same way they talk about the Israeli border.”
– Ann Coulter.
The strength of immigrants as an engine for a society to move forward.
The strength of immigrants like gasoline, fuel.
In the city of Santo Domingo, eight people of Haitian origin, push a collective taxi that makes its daily route, without gasoline.
Video: José Juárez.
Photography: David Perez.
With the support of the Cultural Center of Spain of Santo Domingo and Artestudio.
Santo Domingo, Dominican Republic.Tierra (Land) 2013
For thirty-six years Guatemala lived through one of the bloodiest wars in recent history, a genocide that left more than 200,000 people dead. The army that fought against the guerrilla insurgency considered the indigenous people of Guatemala to be internal enemies that sympathized with the guerrilla. For thirty-six bloody years, the army fervently persecuted the indigenous population. With the intention of keeping the land (under the supervision of the tyrannical government), and the justification that the indigenous people were enemies of the homeland, the State put into practice the scorched earth strategy. This was a common and characteristic practice of the Guatemalan armed conflict. Troops of army soldiers and civil defense patrollers arrived in the indigenous communities and destroyed anything that might be used for survival: food, clothing, crops, houses, animals, etc. They burned everything. They raped, they tortured. They murdered. Many bodies were buried in mass graves that today make up part of the long list of evidence confirming the fact of the genocide.
The aforementioned testimony tells of one of the ways in which the Army constructed the graves before murdering the indigenous people and throwing their bodies inside. The testimony was heard during the genocide trial against Ríos Montt and Sánchez Rodríguez. Guatemala 2013.
Curator: Clare Caroline.
Camera and photography: Bertrand Huet.
Camera: Didier Martial.
Operario: Pascal Pauger.
Estudio Orta Assistants: Tiziana Abretti, Sofia Cavicchini, Andrea Rinaudo, Alberto Orta.
Commissioned and produced by Lucy and Jorge Orta.
This project was carried out during the Residency Program of Les Moulins with the support of the University of the Arts London and La Maréchalerie centre d’art Versailles.
(Les Moulins, France. 2013)Stone 2013
My body remains still, covered with coal, like a stone
Three volunteers urinate on the stone-body
Video: Víctor Bautista, Henry Castillo
Photos: Julio Pantoja, Marlene Ramírez-Cancio
8th Hemispheric Encounter of the Center for Art and Political Studies
São Paulo, BrazilThe Truth 2013
For an hour I read testimonies from survivors of the armed conflict in Guatemala while a dentist attempted over and over again to silence me, anesthetizing my mouth.
Video: José Juárez
Photos: David Pérez, Jorge Linares
Centro de Cultura de España,
Guatemala CityNo violaras, Ciudad de Guatemala 2012
Billboard located in public space
4x6mts
Kilometer 18, Guatemala CityPiel de gallina (Goosebumps) 2012
Single channel video
15:51 min
The phenomenon of goose bumps is caused by a tiny group of muscles called musculus erector pili. It is a natural response to stimuli such as cold or emotional stress. The erector muscle then contracts and the hair stand on end, and this pilomotor reflex occurs.
My body lies inside a refrigerated mortuary cabinet. The public must open the cabinet and draw out the tray with my body on it to observe the effect of cold on my skin.
Curator: Blanca de la Torre
Video: Karin Dolk
Photography: Gert Voor in’t Holt
Commissioned and produced by Artium.Hilo de tiempo (Time Thread) 2012
Two-channel HD video
18:02 min
You have to go back in time to find the reason for so much death and thus to find life.
I remain hidden in a bag woven for corpses. The public is free to gradually unravel the bag until the body is uncovered.
Production: Doris Difarnecio and Caleb Duarte Piñón.
Camera: Mia Eve Rollow, Thomas Erling and María Jiménez Romero.
Edition: José Enrique Juárez.
Photography: María Jiménez Romero, Lydia Reich and Cecilia Monroy Cuevas.
Commissioned and produced by Centro Hemisférico de Performance y Política en Chiapas y EDELO casa de arte en movimiento y residencia interculturalNecromonas 2012
The smell of death penetrates more than any pestilence, because it is the warning of near death. A signal. The smell enters through the orifices and leads us to the irrefutable fact of a near death. It is proven that some insects emit a mixture of chemicals before they die, a kind of universal “smell of death”. These chemicals, called necromonas, are made up of a mixture of acids that are emitted by bodies before death to signal it to other members of your community.
Necromonas is a scent performance. My body remains naked, passive, on a base that hides the corpse of a decomposing pig.
Curator: Blanca de la Torre.
Video: Roberto Lucas.
Photos: Emilio Prieto Pérez.Falso León 2011
In 2005, the artist won the Golden Lion as best artist under 35 at the 51 Venice Biennale.
In 2007 she sold the Golden Lion to the Spanish artist Santiago Sierra, who in turn resells it to a collector.
In 2011 she commissioned an exact copy of the Golden Lion from my my sculptor friends, Angel and Fernando Poyón from Guatemala. They give me an exact copy cast in bronze with a Guatemalan gold bath.
Pavilion of Latin America IlLA. 54 Venice Biennale. Venice, ItalyAlud (Avalanche) 2011
Single channel video
13:11 min
The water flows. The body is there, dirty. The passive positions of the public as onlookers is replaced by the action of participating and cleaning the body, motivated perhaps by certain empathy towards this unknown person, hidden under the mud.
Curator: Eirini Papakonstantinou.
(Thessaloniki Performance Festival, parallel programme of the 3rd Thessaloniki Biennale of Contemporary Art.)
©State Museum of Contemporary Art & the artist.Lección de anatomía (Anatomy Lesson) 2011
Single channel video
37:37 min
An anatomy lesson for a group of students is given by teacher Dr. Paul Carter. My body is used as a reference and a medium and the students draw on me the lines of dissection indicated by the professor.
Surgeon: Mr Paul Carter
Medical students: Michaela Augustine, Russell Channer, Tara Henshaw, Patrick Popat and Daniel Whitlock
Curator: Jessica Kenny
Camera operator: Will Wright
Photography: Matthew Bowman
This commission was led by Art Exchange at the University of Essex, with the support of Arts Council, Firstsite, ESCALA and ROLLO.Looting 2010
(First part, Guatemala)
On the one hand the conquest, the war, the policy of scorched earth, the exploitation of the soils, the humiliated. On the other the conqueror, the one who gives the orders, the man of the old world, the one who raises his hand and keeps the gold.
In Guatemala, a dentist makes holes in the molars of the artist and places 8 inlays of national gold of the highest purity.
In Berlin, a German doctor removes all the gold fillers from my teeth. These small sculptures, eight in all, are left exposed as objects of art.
Photography: Judith Affolter and Marlon García
Fideo Mike Rettel and David Pérez
Commissioned and produced by House der Kulturen der Welt. Berlin, GermanyLooting 2010
(First Part, Guatemala)
On the one hand the conquest, the war, the policy of scorched earth, the exploitation of the soils, the humiliated. On the other the conqueror, the one who gives the orders, the man of the old world, the one who raises his hand and keeps the gold.
In Guatemala, a dentist makes holes in the molars of the artist and places 8 inlays of national gold of the highest purity.
In Berlin, a German doctor removes all the gold fillers from my teeth. These small sculptures, eight in all, are left exposed as objects of art.
Photography: Judith Affolter and Marlon García
Fideo Mike Rettel and David Pérez
Commissioned and produced by House der Kulturen der Welt. Berlin, GermanyLooting 2010
(Second part, Berlin)
On the one hand the conquest, the war, the policy of scorched earth, the exploitation of the soils, the humiliated. On the other the conqueror, the one who gives the orders, the man of the old world, the one who raises his hand and keeps the gold.
In Guatemala, a dentist makes holes in the molars of the artist and places 8 inlays of national gold of the highest purity.
In Berlin, a German doctor removes all the gold fillers from my teeth. These small sculptures, eight in all, are left exposed as objects of art.
Photography: Judith Affolter and Marlon García
Fideo Mike Rettel and David Pérez
Commissioned and produced by: House der Kulturen der Welt. Berlin, GermanyBusto (Bust) 2009
Resin and fiber
61 x 46 x 38 in
Classic bust of myself, made in resin.
Sculpture: Eduard Severino
Photography: Patrick HamiltonAmerica’s Family Prison 2008
Single channel video
56:49 min
The artist rents a family-sized from a company that offers all types of products and services to the private-prison industry on USA. Talkin T. Don Hutto’s family cells as my model, the artist adapts it and lives in it with her daughter and husband for 24 hours. When they came out, the door remains open and the cell is shown as a work of art
Photography: Todd Johnson and Kimberly Abuchon
Funded and produced by ArtPace. San Antonio, Texas, USAAmerica’s family prison 2008
Single channel video
56:49 min
The artist rents a family-sized from a company that offers all types of products and services to the private-prison industry on USA. Talkin T. Don Hutto’s family cells as my model, the artist adapts it and lives in it with her daughter and husband for 24 hours. When they came out, the door remains open and the cell is shown as a work of art
Photography: Todd Johnson and Kimberly Abuchon
Funded and produced by: ArtPace. San Antonio, Texas, USA Cepo (Clamp) 2007
Digital print on paper
70.4 x 39.3 in
Man is condemned to be free.
-Jean Paul Sartre
My body remains blocked in a pillory for 12 hours in a row.
Photography: David Pérez
Espacio Volume, Rome, ItalyConfesión (Confession) 2007
Single channel video
3:55 min
A volunteer performs the water-boarding torture technique on my body.
Photography: Julian Stallabrass
Video: Eva Montes Palmer
Commissioned and produced by La Caja Blanca, Palma de Mallorca, Spain.
Desalojo 2007
Floor consisting of 160 tombstones from exhumations in working-class cemeteries in Guatemala City.
Photography: Marlon García
Centro Cultural de España, Guatemala City, Guatemala.Isla (Island) 2006
Digital print on paper
29.5 x 39 in
I remain immobile on a reef forming a puddle with my own urine around me.
Photography: Engel LeonardoCurso de supervivencia para hombres y mujeres que viajarán de manera ilegal a los Estados Unidos 2007
The artist organized an intensive survival course for a group of 10 people of both sexes who would soon travel to the United States illegally. In the course they learned topics such as resistance, orientation and interpretation of maps, fire, first aid, and a section on how to learn to climb a wall.
Instructor: Carlos Ixcot
Photography: Marlon García
Video: David Pérez
Guatemala CityLimpieza social (Social Cleaning) 2006
Single channel video
1:56 min
I receive a pressure wash with a hose, the method used to quell demonstrations and also to wash newly arrived prisoners.
Photography: Hugo Muñoz
Il Pottere Delle Donne, Galeria Civica Nacional, Trento, Italy
Carnada 2006
Single channel video
05:01 min
I remain motionless in a fishing net, hanging from a tree some meters from the ground, facing the sea.
Photography: Ivory Núñez & David Pérez
Vídeo: David Pérez
Malecón de Santo Domingo, Dominican RepublicPerra (Bitch) 2005
Single channel video
5:44 min
I write the word BITCH with a knife on my right leg.
A condemnation of the acts committed against women in Guatemala, where tortured bodies, have appeared inscriptions carved on them with knives blades
Prometeo Gallery di Ida Pisani, Milano, ItaliaPerra (Bitch) 2005
Single channel video
5:44 min
I write the word BITCH with a knife on my right leg
A condemnation of the acts committed against women in Guatemala, where tortured bodies, have appeared inscriptions carved on them with knives blades
Prometeo Gallery di Ida Pisani
Milano, ItaliaBoda Galindo-Herrera (Galindo-Herrera Wedding) 2004
I dress as a bride and take a picture in a photographic studio that specializes in wedding photos to leave a record of an event that didn’t happen.
Photography: Canche Serra.
Comunicarte e Invitados, Antigua GuatemalaHimenoplastia 2004
Single channel video
07:19 min
A surgical operation in which they reconstruct my hymen to make me virgin again.
Photography: Belia de Vico
Video: Anibal Lopez
Colectiva cinismo, espacio contexto, Guatemala ¿Quien puede borrar las huellas? 2003
Single channel video
37:28 min.
Walk of the Constitutional Court to the National Palace of Guatemala, leaving a trail of tracks made with human blood, in memory of the victims of the armed conflict in Guatemala, in rejection of the presidential candidacy of former military, genocidal and coup supporter Efraín Ríos Montt.
Photography: Victor Pérez
Video Damilo Montenegro
Ciudad de Guatemala, Guatemala.
¿Quién puede borrar las huellas? 2003
Single channel video
37:28 min.
Walk of the Constitutional Court to the National Palace of Guatemala, leaving a trail of tracks made with human blood, in memory of the victims of the armed conflict in Guatemala, in rejection of the presidential candidacy of former military, genocidal and coup supporter Efraín Ríos Montt.
Photography: Victor Pérez
Video Damilo Montenegro
Ciudad de Guatemala, Guatemala.
¿Quién puede borrar las huellas? 2003
Single channel video
37:28 min.
Walk of the Constitutional Court to the National Palace of Guatemala, leaving a trail of tracks made with human blood, in memory of the victims of the armed conflict in Guatemala, in rejection of the presidential candidacy of former military, genocidal and coup supporter Efraín Ríos Montt.
Photography: Victor Pérez
Video Damilo Montenegro
Ciudad de Guatemala, Guatemala.
Autocanibalismo (Self-Cannibalism) 2001
Single channel video
13:00 min
The compulsive action of biting my nails.
Photography: Belia de Vico
Vídeo: Alejandro Marré
Contexto, Arte Contemporáneo en Guatemala. Santa Catarina Pinula, Guatemala.Skin 2001
Single channel video
14:46 min
I shave absolutely all the hair from my body, I walk this way through the streets of Venice
La Platea de la Humanidad, 49 Venice Biennial
Venice, ItalyNo perdemos nada con nacer (We Lose Nothing by Being Born) 2000
Single channel video
4:25 min
Put in a clear plastic bag, like human rubbish, I am placed in Guatemala’s Municipal Dump.
9th Performance Festival
Ex-Teresa Current Art
Zocalo of Mexico City, Mexico
Second Festival of the Historical Center
Municipal Dump, GuatemalaLo voy a gritar al viento (I’m Going To Scream at the Wind) 1999
Single channel video
3:44 min
The artist hangs on the Arch of the Post Office Building in Guatemala City and reads poems on the air.
Photography: Marvin Olivares Ron Mocán.
II Festival del Centro Histórico. Arco de Correos. Guatemala.
Lo voy a gritar al viento (I’m Going To Scream at the Wind) 1999
Single channel video
3:44 min
The artist hangs on the Arch of the Post Office Building in Guatemala City and reads poems on the air.
Photography: Marvin Olivares Ron Mocán.
II Festival del Centro Histórico. Arco de Correos. Guatemala.
<
1 /
155
>
The Body 2023
Installation view
The Watermill Center, New York
Photo: Courtesy of The Watermill CenterThe Body 2023
Installation view
The Watermill Center, New York
Photo: Courtesy of The Watermill CenterThe Body 2023
Installation view
The Watermill Center, New York
Photo: Courtesy of The Watermill CenterThe Body 2023
Installation view
The Watermill Center, New York
Photo: Courtesy of The Watermill Center
The Body 2023
Installation view
The Watermill Center, New York
Photo: Courtesy of The Watermill CenterLa tierra no esconde a los muertos (The Earth Does Not Hide the Dead) 2023
Commissioned and produced by Asia Culture Center with curatorship by Jooyeon Lee and the participation of students from the Department of Performing Arts Dance and the Department of Korean Culture Performance Planning
Courtesy of Asia Culture Center and the artist.La tierra no esconde a los muertos (The Earth Does Not Hide the Dead) 2023
Commissioned and produced by Asia Culture Center with curatorship by Jooyeon Lee and the participation of students from the Department of Performing Arts Dance and the Department of Korean Culture Performance Planning
Courtesy of Asia Culture Center and the artist.La tierra no esconde a los muertos (The Earth Does Not Hide the Dead) 2023
Commissioned and produced by Asia Culture Center with curatorship by Jooyeon Lee and the participation of students from the Department of Performing Arts Dance and the Department of Korean Culture Performance Planning
Courtesy of Asia Culture Center and the artist.
La tierra no esconde a los muertos (The Earth Does Not Hide the Dead) 2023
Commissioned and produced by Asia Culture Center with curatorship by Jooyeon Lee and the participation of students from the Department of Performing Arts Dance and the Department of Korean Culture Performance Planning
Courtesy of Asia Culture Center and the artist.La tierra no esconde a los muertos (The Earth Does Not Hide the Dead) 2023
Commissioned and produced by Asia Culture Center with curatorship by Jooyeon Lee and the participation of students from the Department of Performing Arts Dance and the Department of Korean Culture Performance Planning
Courtesy of Asia Culture Center and the artist.La tierra no esconde a los muertos (The Earth Does Not Hide the Dead) 2023
Commissioned and produced by Asia Culture Center with curatorship by Jooyeon Lee and the participation of students from the Department of Performing Arts Dance and the Department of Korean Culture Performance Planning
Courtesy of Asia Culture Center and the artist.La tierra no esconde a los muertos (The Earth Does Not Hide the Dead) 2023
Commissioned and produced by Asia Culture Center with curatorship by Jooyeon Lee and the participation of students from the Department of Performing Arts Dance and the Department of Korean Culture Performance Planning
Courtesy of Asia Culture Center and the artist.
Anestesia, Anistia, Amnésia (Anesthesia, Amnesty, Amnesia) 2023
Installation view
Coleção Moraes-Bardose, São Paulo, Brasil
Courtesy of Coleção Moraes-Barbosa. Photo by PontogorAnestesia, Anistia, Amnésia (Anesthesia, Amnesty, Amnesia) 2023
Installation view
Coleção Moraes-Bardose, São Paulo, Brasil
Courtesy of Coleção Moraes-Barbosa. Photo by PontogorAnestesia, Anistia, Amnésia (Anesthesia, Amnesty, Amnesia) 2023
Installation view
Coleção Moraes-Bardose, São Paulo, Brasil
Courtesy of Coleção Moraes-Barbosa. Photo by PontogorAnestesia, Anistia, Amnésia (Anesthesia, Amnesty, Amnesia) 2023
Installation view
Coleção Moraes-Bardose, São Paulo, Brasil
Courtesy of Coleção Moraes-Barbosa. Photo by Pontogor
Anestesia, Anistia, Amnésia (Anesthesia, Amnesty, Amnesia) 2023
Installation view
Coleção Moraes-Bardose, São Paulo, Brasil
Courtesy of Coleção Moraes-Barbosa. Photo by PontogorTierra (Land) 2022
Exhibition view
PAV Parco Arte Vivente, Turin
Photo: Francesca CirilliTierra (Land) 2022
Exhibition view
PAV Parco Arte Vivente, Turin
Photo: Francesca CirilliTierra (Land) 2022
Exhibition view
PAV Parco Arte Vivente, Turin
Photo: Francesca Cirilli
Tierra (Land) 2022
Exhibition view
PAV Parco Arte Vivente, Turin
Photo: Francesca CirilliTierra (Land) 2022
Exhibition view
PAV Parco Arte Vivente, Turin
Photo: Francesca CirilliEl Grito 2022
Exhibition view
La Nueva Fabrica
Antigua Guatemala,
Photo: Ana WerrenEl Grito 2022
Exhibition view
La Nueva Fabrica
Antigua Guatemala,
Photo: Ana Werren
El Grito 2022
Exhibition view
La Nueva Fabrica
Antigua Guatemala,
Photo: Ana WerrenEl Grito 2022
Exhibition view
La Nueva Fabrica
Antigua Guatemala,
Photo: Ana WerrenEl Grito 2022
Exhibition view
La Nueva Fabrica
Antigua Guatemala,
Photo: Ana WerrenRíos de gente (Rivers of People) 2022
Exhibition view
Proyectos Ultravioleta
Guatemala City
Ríos de gente (Rivers of People) 2022
Exhibition view
Proyectos Ultravioleta
Guatemala CityRíos de gente (Rivers of People) 2022
Exhibition view
Proyectos Ultravioleta
Guatemala CityRíos de gente (Rivers of People) 2022
Exhibition view
Proyectos Ultravioleta
Guatemala CityRíos de gente (Rivers of People) 2021
Photographic print on cotton paper
39.4 x 70 in
Ríos de gente (Rivers of People) 2021
Photographic print on cotton paper
39.4 x 59 inRíos de gente (Rivers of People) 2022
Exhibition view
Proyectos Ultravioleta
Guatemala CityRíos de gente (Rivers of People) 2022
Exhibition view
Proyectos Ultravioleta
Guatemala CityRíos de gente (Rivers of People) 2022
Exhibition view
Proyectos Ultravioleta
Guatemala City
Ríos de gente (Rivers of People) 2021
Installation of four-channel video, four-channel audio
Channel 1
02:24 min Ríos de gente (Rivers of People) 2021
Installation of four-channel video, four-channel audio
Channel 3
03:26 minRíos de gente (Rivers of People) 2021
Installation of four-channel video, four-channel audio
Channel 4
01:54 minRíos de gente (Rivers of People) 2021
Single channel video
06:41 min
Ríos de gente (Rivers of People) 2021
Installation of four-channel video, four-channel audio
02:24 min / 02:03 min / 03:26 min / 01:54 minJardín de flores 2021
Performance with the support of the Organization of Trans Women Reinas de la noche -OTRANS- and the Xela Support Group -GAX- in conjunction with HIVOS working within the framework of the day of non-violence against women on 25, with the aim of representing them as those flowers in constant resistance to the daily violence that trans women face.
Guatemala CityJardín de flores 2021
Performance with the support of the Organization of Trans Women Reinas de la noche -OTRANS- and the Xela Support Group -GAX- in conjunction with HIVOS working within the framework of the day of non-violence against women on 25, with the aim of representing them as those flowers in constant resistance to the daily violence that trans women face.
Guatemala CityJardín de flores 2021
Performance with the support of the Organization of Trans Women Reinas de la noche -OTRANS- and the Xela Support Group -GAX- in conjunction with HIVOS working within the framework of the day of non-violence against women on 25, with the aim of representing them as those flowers in constant resistance to the daily violence that trans women face.
Guatemala City
Aparición (Ruhr Triennale) 2021
Every three days a woman is murdered by her partner or expartner in Germany.
APARICIÓN draws the attention to this reality by the installation of several
temporary monuments in Ruhr, Germany. The work rememoirs the murdered
women, every three days, with the apparition of a living sculpture.
Ruhr, Germany
Production: Lutz Henke for Ruhr Triennale
Commisioned by: Ruhr Triennale
Photography: Lutz Henke
Video: Matthias Maercks
Dramaturgy Aljoscha BegrichAparición (Ruhr Triennale) 2021
Every three days a woman is murdered by her partner or expartner in Germany.
APARICIÓN draws the attention to this reality by the installation of several
temporary monuments in Ruhr, Germany. The work rememoirs the murdered
women, every three days, with the apparition of a living sculpture.
Ruhr, Germany
Production: Lutz Henke for Ruhr Triennale
Commisioned by: Ruhr Triennale
Photography: Lutz Henke
Video: Matthias Maercks
Dramaturgy Aljoscha BegrichRios de gente 2021
“Allí donde hubo un río, allí cantemos” remembered the places where once was a
river that was diverted or contaminated by the extractive Industry that robs to the
Guatemalan Indigenous people their resources.
In the Festival “Libertad para el Agua” participated more than a thousand kids,
teens, and women from local communities that have been affected by the
Transnational companies, mining, hydroelectric, & monoculture. In Ixcán (Quiché),
Chisec (Alta Verapáz), El Estor (Izabal), Champerico (Retalhuleu), Monte Olivo
(Cobán), San Juan Chamelco, Santa Rosa, and others, the people shouted:
Freedom to water!, Freedom for Bernardo (Caal)!, We fight for life!, We fight for
water!, Water Is life not merchandise!, among other slogans and demands.
Produced by “Maiz de vida” for the festival “Libertad para el Agua”.
Thanks to the support of Oxfam, Canada’s Government, & Camino Verde.
Project design and team coordination:
Andrés Cano Sierra
Artistic Production
Valeria Leiva
Community call
Abelino Chub
Rosa Yalibath
Hary Cacao
Rivers making
Yutzil Pablo
Volunteers Management:
Luis Melgar
Press:
Lucía Escobar
Purchasing manager
Lidia Ajcalón
Graphic design:
Santiago Lucah
Documentation management:
Tierras Bajas del Norte (Sonora Ixcán y Chisec)
Esteban Calderón
Lucía Escobar
Monte Olivo community, Alta Verapaz
Benjamín Sagüi
Champerico, Retalhuleu (Nuevo Monte Cristo, Comunidad 20 de Octubre)
Henning Sac
Lanquín, Alta Verapaz
Rudy Orrego
Valeria Leiva
San Juan Chamelco, Alta Verapaz
Alexander Catún
Audiovisual production
Producer: Cuenca Studios
Camera 1 Leyzer Chiquin
Camera 2 Sebastián Winter
Drone Carlos Coc
Sound by: Lourdes Maldonado
Edit by: Pepe OrozcoRios de gente 2021
“Allí donde hubo un río, allí cantemos” remembered the places where once was a
river that was diverted or contaminated by the extractive Industry that robs to the
Guatemalan Indigenous people their resources.
In the Festival “Libertad para el Agua” participated more than a thousand kids,
teens, and women from local communities that have been affected by the
Transnational companies, mining, hydroelectric, & monoculture. In Ixcán (Quiché),
Chisec (Alta Verapáz), El Estor (Izabal), Champerico (Retalhuleu), Monte Olivo
(Cobán), San Juan Chamelco, Santa Rosa, and others, the people shouted:
Freedom to water!, Freedom for Bernardo (Caal)!, We fight for life!, We fight for
water!, Water Is life not merchandise!, among other slogans and demands.
Produced by “Maiz de vida” for the festival “Libertad para el Agua”.
Thanks to the support of Oxfam, Canada’s Government, & Camino Verde.
Project design and team coordination:
Andrés Cano Sierra
Artistic Production
Valeria Leiva
Community call
Abelino Chub
Rosa Yalibath
Hary Cacao
Rivers making
Yutzil Pablo
Volunteers Management:
Luis Melgar
Press:
Lucía Escobar
Purchasing manager
Lidia Ajcalón
Graphic design:
Santiago Lucah
Documentation management:
Tierras Bajas del Norte (Sonora Ixcán y Chisec)
Esteban Calderón
Lucía Escobar
Monte Olivo community, Alta Verapaz
Benjamín Sagüi
Champerico, Retalhuleu (Nuevo Monte Cristo, Comunidad 20 de Octubre)
Henning Sac
Lanquín, Alta Verapaz
Rudy Orrego
Valeria Leiva
San Juan Chamelco, Alta Verapaz
Alexander Catún
Audiovisual production
Producer: Cuenca Studios
Camera 1 Leyzer Chiquin
Camera 2 Sebastián Winter
Drone Carlos Coc
Sound by: Lourdes Maldonado
Edit by: Pepe Orozco
Guatemala Feminicida 2021
Walk through the streets of Guatemala City using a black and white flag as a mop.
Photography by: José Oquendo & Juan Esteban Calderón, Guatemala CityGuatemala Feminicida 2021
Walk through the streets of Guatemala City using a black and white flag as a mop.
Photography by: José Oquendo & Juan Esteban Calderón, Guatemala CityEl canto se hizo grito 2021
30 covered women, 10 mezzo sopranos between them, In memory of the women who have been murdered this year In Italy.
Commissioned & produced by Prometeo Gallery di Ida Pisani, Milano, Italy.Nuestra mayor venganza es estar vivas 2021
30 covered women playing castanets In memory of the women who have been
murdered In the Baleares Island since the official counting began.
Participative actions made with the women from Artà Balla i Canta y Esclafits i Castanyetes Cristina Alzamora Cabello, Maria Isabel
Alzamora Escanellas, Aina Amorós Joan, Mercè Barbon Ferriol, Cati Bisbal Nadal, Mercè Brunet Llaneras, Pepa Cabrer Flaquer, Margalida Cantó Canet, Margalida Cantó Llaneras, Bàrbara Cobo Sureda, Maria del Mar Danús Jaume, Catalina Ferragut Sancho, Maria Teresa Ferrer Vaquer, Xisca Ferriol Colomar, Mireia Fornés Ordines, Magdalena Fuster Lorenzo, Margalida Garau Orell, Marga
Garau Silva, Maria Antònia Genovard Bonnín, Laura Genovard Quetglas, Aitana Gil Cobo, Maria Teresa Gil Massanet, Maria Rosa
Ginard Cantó, Antònia Ginard Orell, Francisca Maria Jaume Gil, Magdalena Maria Fernàndez, Coloma Maria Nicolau, Maria Nadal
Cursach, Maria Antònia Nicolau Ferragut, Maria Francisca Pastor Terrassa, Maria Antònia Piris Esteva, Antònia Quetglas Maria, Maria
Alejandra Sánchez Novo, Maria Cristina Sancho Capo, Maria del Carme Servera Cobo, Catalina Antònia Terrassa Cantó y Marta Vega
Sureda.
A project curated by: Fernando Gómez de la Cuesta
Produced by: Cool Days Festival y Ajuntament d’Artà
Photography and video by: La Nave Nodriza
Edition: Pepe Orozco Recinoz / ZMF
Special thanks to: Esclafits i Castanyetes, Artà Balla i Canta, Maria Antònia Moll, Cristina Luna Rodríguez, Verónica R. Frías,Manolo
Galán, Toni Bonet, Joan Matamales y Toni Miquel Amorós
Artà, Mallorca, Spain, 2021.
Aparición (Owned by Others) 2021
Every three days a woman is murdered by her partner or expartner in Germany.
APARICIÓN draws the attention to this reality by the installation of several
temporary monuments in Ruhr, Germany. The work rememoirs to the murdered women, every three days, with the apparition of a living sculpture.
Production: Lutz Henke for Owned by the others, Berlin.
Photography: Lutz HenkeEl gran retorno 2020
Exhibition view
The Gardeners
Proyectos Ultravioleta, Guatemala
El gran retorno 2019
12:56 min
Edition 1/5 + 2 A.P.
Photo: Diego SilvaPotencia Mundial 2019
A group of Chinese workers completely dismantled a Chevy car that I drive.
Previously, a Chinese worker dismantled an iPhone. This work explores the
commercial war between China and the United States and the resulting political and
economic tensions.
Curators: Feng Boyi, Wang Xiaosong, Liu Gang
Video Guo Yongzhan, Liu Zizheng, Huang Chengxiang
Editing: Cao Zhaoqing
Photography: Ouyang Heng
Now is the Time: Wuzhen Contemporary Art Exhibition. Whuzhen, China
Potencia Mundial 2019
A group of Chinese workers completely dismantled a Chevy car that I drive.
Previously, a Chinese worker dismantled an iPhone. This work explores the
commercial war between China and the United States and the resulting political and
economic tensions.
Curators: Feng Boyi, Wang Xiaosong, Liu Gang
Video Guo Yongzhan, Liu Zizheng, Huang Chengxiang
Editing: Cao Zhaoqing
Photography: Ouyang Heng
Now is the Time: Wuzhen Contemporary Art Exhibition. Whuzhen, China
Potencia Mundial 2019
A group of Chinese workers completely dismantled a Chevy car that I drive.
Previously, a Chinese worker dismantled an iPhone. This work explores the
commercial war between China and the United States and the resulting political and
economic tensions.
Curators: Feng Boyi, Wang Xiaosong, Liu Gang
Video Guo Yongzhan, Liu Zizheng, Huang Chengxiang
Editing: Cao Zhaoqing
Photography: Ouyang Heng
Now is the Time: Wuzhen Contemporary Art Exhibition. Whuzhen, China
Monumento a los invisibles 2018
The forgotten
the ones that don’t matter
the ones that don’t count
the ones that despite their bravery
continue to be small
in the eyes of the giants.
Six student volunteers and I remain motionless, hidden underneath sheaths of
white fabric. We stand on structures situated in a yard reserved for the academic
elite of Cambridge
Photography and video: Josh Murfitt
(Commissioned and produced by Kettles Yard, as part of the show “Actions. The
image of the world can be different”. Front Court, King’s College, Cambridge. U.K.
2018)La Panel Blanca 2018
We located an old white panel with similar characteristics to the white panel that belonged to the State and was used to kidnap and disappear people during the darkest years of the war in Guatemala, we reshape it and exhibit it.
The panel was exposed for a month and every afternoon at five in the afternoon was activated by poets, artists and interested people who gathered around to intervene or to read poetry and tell stories related to those years.
Project carried out jointly with Juan Esteban Calderón.
Commissioned and produced as part of the “Jornadas de la Memoria”, in honor of the missing writer Luis de Lion. Spanish Cooperation, Antigua Guatemala
La Panel Blanca 2018
We located an old white panel with similar characteristics to the white panel that belonged to the State and was used to kidnap and disappear people during the darkest years of the war in Guatemala, we reshape it and exhibit it.
The panel was exposed for a month and every afternoon at five in the afternoon was activated by poets, artists and interested people who gathered around to intervene or to read poetry and tell stories related to those years.
Project carried out jointly with Juan Esteban Calderón.
Commissioned and produced as part of the “Jornadas de la Memoria”, in honor of the missing writer Luis de Lion. Spanish Cooperation, Antigua Guatemala
La Panel Blanca 2018
We located an old white panel with similar characteristics to the white panel that belonged to the State and was used to kidnap and disappear people during the darkest years of the war in Guatemala, we reshape it and exhibit it.
The panel was exposed for a month and every afternoon at five in the afternoon was activated by poets, artists and interested people who gathered around to intervene or to read poetry and tell stories related to those years.
Project carried out jointly with Juan Esteban Calderón.
Commissioned and produced as part of the “Jornadas de la Memoria”, in honor of the missing writer Luis de Lion. Spanish Cooperation, Antigua Guatemala
Bandera Negra 2018
The artist held and waved a black national flag of Guatemala during the independence parade on September 15.
Photographs and video: Juan Esteban Calderón
Antigua Guatemala. Guatemala.
Bandera Negra 2018
The artist held and waved a black national flag of Guatemala during the independence parade on September 15.
Photographs and video: Juan Esteban Calderón
Antigua Guatemala. Guatemala.
Illicit Association 2017
Performance
Guatemala CityIllicit Association 2017
Intervened firearm (bought in the black market)
9 x 28 inThe Objective 2017
Digital C-Print on Dibond
39.4 × 59 in
The great powers control the arms market, they produce them, they sell them. Countries in crisis buy them, use them. Germany is
among the top five weapons manufacturers in the world and has illegally exported weapons to conflict zones, including some areas of
the Americas such as Mexico.
Participatory performance with four German G36 rifles. I remain inside a room and the public can only see me through the sights of four
rifles located on all four sides.
Camera: Nicolas Rösener
Editing: Pepe Orozco
Curator: Monika SzewcThe Objective 2017
Digital C-Print on Dibond
39.4 × 59 in
The great powers control the arms market, they produce them, they sell them. Countries in crisis buy them, use them. Germany is
among the top five weapons manufacturers in the world and has illegally exported weapons to conflict zones, including some areas of
the Americas such as Mexico.
Participatory performance with four German G36 rifles. I remain inside a room and the public can only see me through the sights of four
rifles located on all four sides.
Camera: Nicolas Rösener
Editing: Pepe Orozco
Curator: Monika Szewc
The Objective 2017
Digital C-Print on Dibond
39.4 × 59 in
The great powers control the arms market, they produce them, they sell them. Countries in crisis buy them, use them. Germany is
among the top five weapons manufacturers in the world and has illegally exported weapons to conflict zones, including some areas of
the Americas such as Mexico.
Participatory performance with four German G36 rifles. I remain inside a room and the public can only see me through the sights of four
rifles located on all four sides.
Camera: Nicolas Rösener
Editing: Pepe Orozco
Curator: Monika SzewcThe Objective 2017
Digital C-Print on Dibond
39.4 × 59 in
The great powers control the arms market, they produce them, they sell them. Countries in crisis buy them, use them. Germany is
among the top five weapons manufacturers in the world and has illegally exported weapons to conflict zones, including some areas of
the Americas such as Mexico.
Participatory performance with four German G36 rifles. I remain inside a room and the public can only see me through the sights of four
rifles located on all four sides.
Camera: Nicolas Rösener
Editing: Pepe Orozco
Curator: Monika SzewcThe Shadow 2017
We cannot escape the horror
It chases us
It’s our shadow
A Leopard, a German tank of the world war II, pursues the artist in a circle without beginning or end.
Camera, sound technician and edition: Nicolas Rösener
Curator: Monika Szeczyk
Production: Leon Hösl
Photography: Michael Nast
Second camera: Gabriel Caballeros
Commissioned and produced by Documenta 14, Kassel, Germany
The Shadow 2017
We cannot escape the horror
It chases us
It’s our shadow
A Leopard, a German tank of the world war II, pursues the artist in a circle without beginning or end .
Camera, sound technician and edition: Nicolas Rösener
Curator: Monika Szeczyk
Production: Leon Hösl
Photography: Michael Nast
Second camera Gabriel Caballeros
Commissioned and produced by Documenta 14, Kassel, Germany
Presence 2017
I do not want to put myself in others’ shoes
I want to put myself in their dresses.
Patricia, Saira, María de Jesús, Cindy, Sandra, Carmen, Ruth, Mindi, Florence,
Kenia, Velvet, Flor de María, Karen. All of these women had families, jobs, dreams;
they had plans for their lives. All of these women were silenced, violently ripped
from this earth. All of these women were murdered in Guatemala.
Each day around the world, hundreds of women die in violent ways, and dozens of
them die in Guatemala. According to figures from INACIF (Instituto Nacional de
Ciencias Forenses) and Fundación Sobrevivientes over a five year period 3,585
cases of murdered women were reported in Guatemala. Many of these crimes were
committed by a woman’s partner or ex-partner. The majority of these cases remain
in states of impunity.
Presencia was a performance project over a period of thirteen days during which I
wore the dresses of thirteen women who were murdered in Guatemala. I remained
still each day for two hours, invoking each woman’s presence.
This project was made possible thanks to the support of Fundación Sobrevivientes and that of the women’s family members, those who
bore their loses with strength and never faltered in the fight for justice.
Production: Carlos Bernardo Euler Coy and Mishad Orlandini
Press: Lucía Escobar
Photography: Ameno Córdoba
Vídeo: José JuárezPresence 2017
I do not want to put myself in others’ shoes
I want to put myself in their dresses.
Patricia, Saira, María de Jesús, Cindy, Sandra, Carmen, Ruth, Mindi, Florence,
Kenia, Velvet, Flor de María, Karen. All of these women had families, jobs, dreams;
they had plans for their lives. All of these women were silenced, violently ripped
from this earth. All of these women were murdered in Guatemala.
Each day around the world, hundreds of women die in violent ways, and dozens of
them die in Guatemala. According to figures from INACIF (Instituto Nacional de
Ciencias Forenses) and Fundación Sobrevivientes over a five year period 3,585
cases of murdered women were reported in Guatemala. Many of these crimes were
committed by a woman’s partner or ex-partner. The majority of these cases remain
in states of impunity.
Presencia was a performance project over a period of thirteen days during which I
wore the dresses of thirteen women who were murdered in Guatemala. I remained
still each day for two hours, invoking each woman’s presence.
This project was made possible thanks to the support of Fundación Sobrevivientes and that of the women’s family members, those who
bore their loses with strength and never faltered in the fight for justice.
Production: Carlos Bernardo Euler Coy and Mishad Orlandini
Press: Lucía Escobar
Photography: Ameno Córdoba
Vídeo: José JuárezPresence 2017
I do not want to put myself in others’ shoes
I want to put myself in their dresses.
Patricia, Saira, María de Jesús, Cindy, Sandra, Carmen, Ruth, Mindi, Florence,
Kenia, Velvet, Flor de María, Karen. All of these women had families, jobs, dreams;
they had plans for their lives. All of these women were silenced, violently ripped
from this earth. All of these women were murdered in Guatemala.
Each day around the world, hundreds of women die in violent ways, and dozens of
them die in Guatemala. According to figures from INACIF (Instituto Nacional de
Ciencias Forenses) and Fundación Sobrevivientes over a five year period 3,585
cases of murdered women were reported in Guatemala. Many of these crimes were
committed by a woman’s partner or ex-partner. The majority of these cases remain
in states of impunity.
Presencia was a performance project over a period of thirteen days during which I
wore the dresses of thirteen women who were murdered in Guatemala. I remained
still each day for two hours, invoking each woman’s presence.
This project was made possible thanks to the support of Fundación Sobrevivientes and that of the women’s family members, those who
bore their loses with strength and never faltered in the fight for justice.
Production: Carlos Bernardo Euler Coy and Mishad Orlandini
Press: Lucía Escobar
Photography: Ameno Córdoba
Vídeo: José JuárezPresence 2017
I do not want to put myself in others’ shoes
I want to put myself in their dresses.
Patricia, Saira, María de Jesús, Cindy, Sandra, Carmen, Ruth, Mindi, Florence,
Kenia, Velvet, Flor de María, Karen. All of these women had families, jobs, dreams;
they had plans for their lives. All of these women were silenced, violently ripped
from this earth. All of these women were murdered in Guatemala.
Each day around the world, hundreds of women die in violent ways, and dozens of
them die in Guatemala. According to figures from INACIF (Instituto Nacional de
Ciencias Forenses) and Fundación Sobrevivientes over a five year period 3,585
cases of murdered women were reported in Guatemala. Many of these crimes were
committed by a woman’s partner or ex-partner. The majority of these cases remain
in states of impunity.
Presencia was a performance project over a period of thirteen days during which I
wore the dresses of thirteen women who were murdered in Guatemala. I remained
still each day for two hours, invoking each woman’s presence.
This project was made possible thanks to the support of Fundación Sobrevivientes and that of the women’s family members, those who
bore their loses with strength and never faltered in the fight for justice.
Production: Carlos Bernardo Euler Coy and Mishad Orlandini
Press: Lucía Escobar
Photography: Ameno Córdoba
Vídeo: José Juárez
Presence 2017
I do not want to put myself in others’ shoes
I want to put myself in their dresses.
Patricia, Saira, María de Jesús, Cindy, Sandra, Carmen, Ruth, Mindi, Florence,
Kenia, Velvet, Flor de María, Karen. All of these women had families, jobs, dreams;
they had plans for their lives. All of these women were silenced, violently ripped
from this earth. All of these women were murdered in Guatemala.
Each day around the world, hundreds of women die in violent ways, and dozens of
them die in Guatemala. According to figures from INACIF (Instituto Nacional de
Ciencias Forenses) and Fundación Sobrevivientes over a five year period 3,585
cases of murdered women were reported in Guatemala. Many of these crimes were
committed by a woman’s partner or ex-partner. The majority of these cases remain
in states of impunity.
Presencia was a performance project over a period of thirteen days during which I
wore the dresses of thirteen women who were murdered in Guatemala. I remained
still each day for two hours, invoking each woman’s presence.
This project was made possible thanks to the support of Fundación Sobrevivientes and that of the women’s family members, those who
bore their loses with strength and never faltered in the fight for justice.
Production: Carlos Bernardo Euler Coy and Mishad Orlandini
Press: Lucía Escobar
Photography: Ameno Córdoba
Vídeo: José JuárezPresence 2017
I do not want to put myself in others’ shoes
I want to put myself in their dresses.
Patricia, Saira, María de Jesús, Cindy, Sandra, Carmen, Ruth, Mindi, Florence,
Kenia, Velvet, Flor de María, Karen. All of these women had families, jobs, dreams;
they had plans for their lives. All of these women were silenced, violently ripped
from this earth. All of these women were murdered in Guatemala.
Each day around the world, hundreds of women die in violent ways, and dozens of
them die in Guatemala. According to figures from INACIF (Instituto Nacional de
Ciencias Forenses) and Fundación Sobrevivientes over a five year period 3,585
cases of murdered women were reported in Guatemala. Many of these crimes were
committed by a woman’s partner or ex-partner. The majority of these cases remain
in states of impunity.
Presencia was a performance project over a period of thirteen days during which I
wore the dresses of thirteen women who were murdered in Guatemala. I remained
still each day for two hours, invoking each woman’s presence.
This project was made possible thanks to the support of Fundación Sobrevivientes and that of the women’s family members, those who
bore their loses with strength and never faltered in the fight for justice.
Production: Carlos Bernardo Euler Coy and Mishad Orlandini
Press: Lucía Escobar
Photography: Ameno Córdoba
Vídeo: José JuárezPresence 2017
I do not want to put myself in others’ shoes
I want to put myself in their dresses.
Patricia, Saira, María de Jesús, Cindy, Sandra, Carmen, Ruth, Mindi, Florence,
Kenia, Velvet, Flor de María, Karen. All of these women had families, jobs, dreams;
they had plans for their lives. All of these women were silenced, violently ripped
from this earth. All of these women were murdered in Guatemala.
Each day around the world, hundreds of women die in violent ways, and dozens of
them die in Guatemala. According to figures from INACIF (Instituto Nacional de
Ciencias Forenses) and Fundación Sobrevivientes over a five year period 3,585
cases of murdered women were reported in Guatemala. Many of these crimes were
committed by a woman’s partner or ex-partner. The majority of these cases remain
in states of impunity.
Presencia was a performance project over a period of thirteen days during which I
wore the dresses of thirteen women who were murdered in Guatemala. I remained
still each day for two hours, invoking each woman’s presence.
This project was made possible thanks to the support of Fundación Sobrevivientes and that of the women’s family members, those who
bore their loses with strength and never faltered in the fight for justice.
Production: Carlos Bernardo Euler Coy and Mishad Orlandini
Press: Lucía Escobar
Photo: Juan Esteban Calderón
Vídeo: José JuárezPresence 2017
I do not want to put myself in others’ shoes
I want to put myself in their dresses.
Patricia, Saira, María de Jesús, Cindy, Sandra, Carmen, Ruth, Mindi, Florence,
Kenia, Velvet, Flor de María, Karen. All of these women had families, jobs, dreams;
they had plans for their lives. All of these women were silenced, violently ripped
from this earth. All of these women were murdered in Guatemala.
Each day around the world, hundreds of women die in violent ways, and dozens of
them die in Guatemala. According to figures from INACIF (Instituto Nacional de
Ciencias Forenses) and Fundación Sobrevivientes over a five year period 3,585
cases of murdered women were reported in Guatemala. Many of these crimes were
committed by a woman’s partner or ex-partner. The majority of these cases remain
in states of impunity.
Presencia was a performance project over a period of thirteen days during which I
wore the dresses of thirteen women who were murdered in Guatemala. I remained
still each day for two hours, invoking each woman’s presence.
This project was made possible thanks to the support of Fundación Sobrevivientes and that of the women’s family members, those who
bore their loses with strength and never faltered in the fight for justice.
Production: Carlos Bernardo Euler Coy and Mishad Orlandini
Press: Lucía Escobar
Photo: Juan Esteban Calderón
Vídeo: José Juárez
Presence 2017
I do not want to put myself in others’ shoes
I want to put myself in their dresses.
Patricia, Saira, María de Jesús, Cindy, Sandra, Carmen, Ruth, Mindi, Florence,
Kenia, Velvet, Flor de María, Karen. All of these women had families, jobs, dreams;
they had plans for their lives. All of these women were silenced, violently ripped
from this earth. All of these women were murdered in Guatemala.
Each day around the world, hundreds of women die in violent ways, and dozens of
them die in Guatemala. According to figures from INACIF (Instituto Nacional de
Ciencias Forenses) and Fundación Sobrevivientes over a five year period 3,585
cases of murdered women were reported in Guatemala. Many of these crimes were
committed by a woman’s partner or ex-partner. The majority of these cases remain
in states of impunity.
Presencia was a performance project over a period of thirteen days during which I
wore the dresses of thirteen women who were murdered in Guatemala. I remained
still each day for two hours, invoking each woman’s presence.
This project was made possible thanks to the support of Fundación Sobrevivientes and that of the women’s family members, those who
bore their loses with strength and never faltered in the fight for justice.
Production: Carlos Bernardo Euler Coy and Mishad Orlandini
Press: Lucía Escobar
Photo: Juan Esteban Calderón
Vídeo: José JuárezPresence 2017
I do not want to put myself in others’ shoes
I want to put myself in their dresses.
Patricia, Saira, María de Jesús, Cindy, Sandra, Carmen, Ruth, Mindi, Florence,
Kenia, Velvet, Flor de María, Karen. All of these women had families, jobs, dreams;
they had plans for their lives. All of these women were silenced, violently ripped
from this earth. All of these women were murdered in Guatemala.
Each day around the world, hundreds of women die in violent ways, and dozens of
them die in Guatemala. According to figures from INACIF (Instituto Nacional de
Ciencias Forenses) and Fundación Sobrevivientes over a five year period 3,585
cases of murdered women were reported in Guatemala. Many of these crimes were
committed by a woman’s partner or ex-partner. The majority of these cases remain
in states of impunity.
Presencia was a performance project over a period of thirteen days during which I
wore the dresses of thirteen women who were murdered in Guatemala. I remained
still each day for two hours, invoking each woman’s presence.
This project was made possible thanks to the support of Fundación Sobrevivientes and that of the women’s family members, those who
bore their loses with strength and never faltered in the fight for justice.
Production: Carlos Bernardo Euler Coy and Mishad Orlandini
Press: Lucía Escobar
Photo: Juan Esteban Calderón
Vídeo: José JuárezPresence 2017
I do not want to put myself in others’ shoes
I want to put myself in their dresses.
Patricia, Saira, María de Jesús, Cindy, Sandra, Carmen, Ruth, Mindi, Florence,
Kenia, Velvet, Flor de María, Karen. All of these women had families, jobs, dreams;
they had plans for their lives. All of these women were silenced, violently ripped
from this earth. All of these women were murdered in Guatemala.
Each day around the world, hundreds of women die in violent ways, and dozens of
them die in Guatemala. According to figures from INACIF (Instituto Nacional de
Ciencias Forenses) and Fundación Sobrevivientes over a five year period 3,585
cases of murdered women were reported in Guatemala. Many of these crimes were
committed by a woman’s partner or ex-partner. The majority of these cases remain
in states of impunity.
Presencia was a performance project over a period of thirteen days during which I
wore the dresses of thirteen women who were murdered in Guatemala. I remained
still each day for two hours, invoking each woman’s presence.
This project was made possible thanks to the support of Fundación Sobrevivientes and that of the women’s family members, those who
bore their loses with strength and never faltered in the fight for justice.
Production: Carlos Bernardo Euler Coy and Mishad Orlandini
Press: Lucía Escobar
Photo: Juan Esteban Calderón
Vídeo: José JuárezPresence 2017
I do not want to put myself in others’ shoes
I want to put myself in their dresses.
Patricia, Saira, María de Jesús, Cindy, Sandra, Carmen, Ruth, Mindi, Florence,
Kenia, Velvet, Flor de María, Karen. All of these women had families, jobs, dreams;
they had plans for their lives. All of these women were silenced, violently ripped
from this earth. All of these women were murdered in Guatemala.
Each day around the world, hundreds of women die in violent ways, and dozens of
them die in Guatemala. According to figures from INACIF (Instituto Nacional de
Ciencias Forenses) and Fundación Sobrevivientes over a five year period 3,585
cases of murdered women were reported in Guatemala. Many of these crimes were
committed by a woman’s partner or ex-partner. The majority of these cases remain
in states of impunity.
Presencia was a performance project over a period of thirteen days during which I
wore the dresses of thirteen women who were murdered in Guatemala. I remained
still each day for two hours, invoking each woman’s presence.
This project was made possible thanks to the support of Fundación Sobrevivientes and that of the women’s family members, those who
bore their loses with strength and never faltered in the fight for justice.
Production: Carlos Bernardo Euler Coy and Mishad Orlandini
Press: Lucía Escobar
Photo: Juan Esteban Calderón
Vídeo: José Juárez
Presence 2017
I do not want to put myself in others’ shoes
I want to put myself in their dresses.
Patricia, Saira, María de Jesús, Cindy, Sandra, Carmen, Ruth, Mindi, Florence,
Kenia, Velvet, Flor de María, Karen. All of these women had families, jobs, dreams;
they had plans for their lives. All of these women were silenced, violently ripped
from this earth. All of these women were murdered in Guatemala.
Each day around the world, hundreds of women die in violent ways, and dozens of
them die in Guatemala. According to figures from INACIF (Instituto Nacional de
Ciencias Forenses) and Fundación Sobrevivientes over a five year period 3,585
cases of murdered women were reported in Guatemala. Many of these crimes were
committed by a woman’s partner or ex-partner. The majority of these cases remain
in states of impunity.
Presencia was a performance project over a period of thirteen days during which I
wore the dresses of thirteen women who were murdered in Guatemala. I remained
still each day for two hours, invoking each woman’s presence.
This project was made possible thanks to the support of Fundación Sobrevivientes and that of the women’s family members, those who
bore their loses with strength and never faltered in the fight for justice.
Production: Carlos Bernardo Euler Coy and Mishad Orlandini
Press: Lucía Escobar
Photo: Juan Esteban Calderón
Vídeo: José JuárezAscención (Ascension) 2016
Ascensión is a private performance in the Church of Chiesa di San Matteo in Lucca, Italy.
The performance is a tribute to the Q’eqchies
women, to their fight, and to their courage. The 10 meter long perraje was handmade by Guatemalan Maya women specifically for this
occasion.
Special thanks for Moni Oseida for her support in achieving this project.
Photography Veronica Alessi, Duccio Lucchesi.
(San Matteo. Lucca, Italy. 2016)
La siesta (The Nap) 2016
Single channel video
12:08 min
I fall into a deep sleep after drinking 10 ml of a sedative that is commonly used to carry out silenced
rapes. Two men violently wake me up, throwing a bucket of freezing water in my face.
Curators: Eugenio Viola & Angel Moya García.
Photography: Marco Nari.
Part of the Festival de Performance: Sui Generis.
(San Matteo Church, Lucca, Italy. 2016)La Intención 2016
… but woman is a wheedling and secret enemy. And that she is more perilous than a snare does not speak of the snare of hunters traps, but of devils. For men are caught not only through their carnal desires, when they see and hear women; for St. Bernard says: “Their face is a burning wind, and their voice the hissing of serpents”; but they also cast wicked spells on countless men and animals. And when it is said that her heart is a net, it speaks of the inscrutable malice which reigns in their hearts. And her hands are as bands for binding; for when they place their hands on a creature to bewitch it, then with the help of the devil, they perform their design..
– Malleus Maleficarum.
Heinrich Kramer & Jacobus Sprenger.
Germany, 1487.
(The Malleus Maleficarum generally translated as Hammer of Witches is the most important and well known treaty of witchcraft, written by Catholic clergyman Heinrich Krämer (Henricus Institoris) and originally published in 1487 in the German city of Speyer. The book supports extermination of witches and for this he develops a detailed legal and theological theory that today is perceived as misogynistic).
For one reason or another, diverse cultures have historically reacted in a collective manner to judge and accuse other individuals, generally out of fear From this fear they have repressed, attacked, punished and even murdered those who are suspected as guilty.. During the inquisition the witch hunt was a phenomenon of Central Europe where women were persecuted under false accusations; the single doubt, was already sufficient reason for their condemnation.
Nowadays witch hunts occur in other ways.
Curated by Giacomo Zaza.
Production: Fondazione Fòcara di Novoli (Novoli, Lecce).
Coordination: Claudio De Blasi, Loris Romano.
Participants Claudio De Blasi, Mary Bolognese, Mimma Sozzo, Raffaella Arnesano, Patrizia Diamante, Giovanna de Nigris.
Filming Passo Uno Produzioni (Marco Conoci, Diego Silvestri, Valeria Schifeo, Salvatore Caracuta).
Director of Filming: Gianni De Blasi.
José Enrique Juárez Edition.
Photography: Annamaria La Mastra.
Novoli, Lecce, Italy.
La intención 2016
… but woman is a wheedling and secret enemy. And that she is more perilous than a snare does not speak of the snare of hunters traps, but of devils. For men are caught not only through their carnal desires, when they see and hear women; for St. Bernard says: “Their face is a burning wind, and their voice the hissing of serpents”; but they also cast wicked spells on countless men and animals. And when it is said that her heart is a net, it speaks of the inscrutable malice which reigns in their hearts. And her hands are as bands for binding; for when they place their hands on a creature to bewitch it, then with the help of the devil, they perform their design..
– Malleus Maleficarum.
Heinrich Kramer & Jacobus Sprenger.
Germany, 1487.
(The Malleus Maleficarum generally translated as Hammer of Witches is the most important and well known treaty of witchcraft, written by Catholic clergyman Heinrich Krämer (Henricus Institoris) and originally published in 1487 in the German city of Speyer. The book supports extermination of witches and for this he develops a detailed legal and theological theory that today is perceived as misogynistic).
For one reason or another, diverse cultures have historically reacted in a collective manner to judge and accuse other individuals, generally out of fear From this fear they have repressed, attacked, punished and even murdered those who are suspected as guilty.. During the inquisition the witch hunt was a phenomenon of Central Europe where women were persecuted under false accusations; the single doubt, was already sufficient reason for their condemnation.
Nowadays witch hunts occur in other ways.
Curated by: Giacomo Zaza.
Production: Fondazione Fòcara di Novoli (Novoli, Lecce).
Coordination: Claudio De Blasi, Loris Romano.
Participants Claudio De Blasi, Mary Bolognese, Mimma Sozzo, Raffaella Arnesano, Patrizia Diamante, Giovanna de Nigris.
Filming Passo Uno Produzioni (Marco Conoci, Diego Silvestri, Valeria Schifeo, Salvatore Caracuta).
Director of Filming: Gianni De Blasi.
José Enrique Juárez Edition.
Photography: Annamaria La Mastra.
Novoli, Lecce, Italy.
Aún no somos escombros 2016
Trümmerfrauen
No one wants a new war.
No one wants to think that the horrors of the past are possible again.
No one wants to think that the future might not come.
I stand buried in a volcano made of rubble with only my head showing. A group of German women of various ages, takes away the stones, one by one, until a space is opened up that allows me to escape.
Originally commissioned and produced by: What Time Is It on the Clock of the World * / What Time is it on the World Clock * International Festival on Feminism and Public Space.
Organized by: Stadtkuratorin Hamburg. An initiative project of Free and Hanseatic City of Hamburg and CTC. Curating the City / Curando la Ciudad.
Artistic Direction: Sophie Goltz.
Jakob Deutsch Chamber, Josefina Gill.
José Enrique Juárez Edition.
Photography: Frank Egel.
Special thanks to: Almuth Anders, Beate Anspach, Papia Bandyopadhyay, Dario Barcalay, Bautechnik Jörss-Blunck-Ordemann, Francesca Bertin, Bezirksamt Hamburg-Mitte, Finn Brüggemann, Buhck Umweltservices GmbH & Co. KG, Doris de Feyter, Michael Franke, Michael Franke, Michael Franke, Michael Franke , Hamburger Hochbahn AG, Hamburg Wasser, Christoph Hauttmann, Frank Heyder, Björn Jungjohann, Naima Kanzeri, Jörg Knopf, Andreas Kohlen, Filomena Krause, Lila-Zoe Krauß, Sara Kuhnt, Alexey Markin, MBV. Baustellen- und Verkehrsabsicherung, Nina Ozan, Franziska Paulu, Klaus Peters, PK 143 StVB-City, Ardalan Razavieh, Anne-Kathrin Reinberg, Christian Rudolph, Sven Schiller, Simon Schmitz, Anna Schönbeck, Garlef Schubert, Uli Schwerwinsky, Stadtreinigung Hamburg, Stadtreinigung Hamburg Tielke, Nuriye Tohermes, Hengameh Yaghoobifarah, Andreas Zimmermann.
Hamburg, Germany.
Aún no somos escombros 2016
Trümmerfrauen
No one wants a new war.
No one wants to think that the horrors of the past are possible again.
No one wants to think that the future might not come
.
I stand buried in a volcano made of rubble with only my head showing. A group of German women of various ages, takes away the stones, one by one, until a space is opened up that allows me to escape.
Originally commissioned and produced by: What Time Is It on the Clock of the World * / What Time is it on the World Clock * International Festival on Feminism and Public Space.
Organized by: Stadtkuratorin Hamburg. An initiative project of Free and Hanseatic City of Hamburg and CTC. Curating the City / Curando la Ciudad.
Artistic Direction: Sophie Goltz.
Jakob Deutsch Chamber, Josefina Gill.
José Enrique Juárez Edition.
Photography: Frank Egel.
Special thanks to Almuth Anders, Beate Anspach, Papia Bandyopadhyay, Dario Barcalay, Bautechnik Jörss-Blunck-Ordemann, Francesca Bertin, Bezirksamt Hamburg-Mitte, Finn Brüggemann, Buhck Umweltservices GmbH & Co. KG, Doris de Feyter, Michael Franke, Michael Franke, Michael Franke, Michael Franke , Hamburger Hochbahn AG, Hamburg Wasser, Christoph Hauttmann, Frank Heyder, Björn Jungjohann, Naima Kanzeri, Jörg Knopf, Andreas Kohlen, Filomena Krause, Lila-Zoe Krauß, Sara Kuhnt, Alexey Markin, MBV. Baustellen- und Verkehrsabsicherung, Nina Ozan, Franziska Paulu, Klaus Peters, PK 143 StVB-City, Ardalan Razavieh, Anne-Kathrin Reinberg, Christian Rudolph, Sven Schiller, Simon Schmitz, Anna Schönbeck, Garlef Schubert, Uli Schwerwinsky, Stadtreinigung Hamburg, Stadtreinigung Hamburg Tielke, Nuriye Tohermes, Hengameh Yaghoobifarah, Andreas Zimmermann.
Hamburg, Germany.
Nadie atraviesa la región sin ensuciarse
(No One Goes Through the Region Without Getting Dirty) 2015
Single channel video
05:28 min
Let’s not speak from the surface
so
-the wordwill have weight.
In Central America, it is always spring, just as there is always conflict, always fighting. We live inundated,
bogged down. To cross Central America you must cross death to reach life. Today, Miami is a city that
watches and lives with new eyes, but thirty years ago, violent crime fueled by drug trafficking devastated
the city.
In the 1980s, Miami was still a swamp city.
Transformation of the exhibition space into a swamp. I remain buried inside the mud with only my head showing, so that I can breathe. To reach me, the audience must cross the swamp, they must muddy their feet.
The next day, the symposium Central What? was held, as part of the Dialogic CENTRALsolutions event.
During the event, the participants also had to walk through the mud.
Curator Roc Laseca.
Photography Jorge Chirinos and Alan Gutiérrez.
(Art Center South Florida. Miami, United States. 2015)
Dessert 2015
Single channel video
14:53 min
We turn the interior of the gallery into a desert
Instead of sand, we use wood sawdust
I remain buried in the dunes.
Commissioned and produced by: Gabriela Mistral Gallery, Santiago de Chile
Curator: Soledad Novoa Donoso
Video: Andrés Lima and Sebastián Pando
Photos: Rodrigo Maulen
Santiago, ChileRoots 2015
Specially designed for the Botanical Garden of Palermo, it recovers the relationship with nature. The Garden for its particular position creates a link between the sea and the city, natural microcosm, universal garden where species of all origins coexist. It is here that I, together with a group of migrants of 20 different nationalities, cling to the roots of trees and plants that correspond to the origin of each of us.
The performance focuses on the broader meaning of uprooting: and proposes a reflection based on the parallelism between plants around the world present in the Botanical Garden (many here illegally transported since the late eighteenth century) that today make up the landscape of the Garden – and foreign communities rooted in Palermo.
The action aims to reflect on how the human being could live peacefully despite the differences, set roots in any context and grow in harmony with the environment and with other communities. No matter where we come from, we can live together because together we constitute a common origin that adds to diversity.
Idea and coordination of: the Antonio Leone project.
Curated by: Giulia Ingarao, Paola Nicita, Diego Sileo.
Curator of plants in botanist Manlio Speciale.
Sergio Farfalla video.
Photography: Sergio Farfalla and Emanuele Lo Cascio.
Special thanks to all volunteers. Roots 2015
(Volunteer: Lusiana Libidov, Romania)
Specially designed for the Botanical Garden of Palermo, it recovers the relationship with nature. The Garden for its particular position creates a link between the sea and the city, natural microcosm, universal garden where species of all origins coexist. It is here that I, together with a group of migrants of 20 different nationalities, cling to the roots of trees and plants that correspond to the origin of each of us.
The performance focuses on the broader meaning of uprooting: and proposes a reflection based on the parallelism between plants around the world present in the Botanical Garden (many here illegally transported since the late eighteenth century) that today make up the landscape of the Garden – and foreign communities rooted in Palermo.
The action aims to reflect on how the human being could live peacefully despite the differences, set roots in any context and grow in harmony with the environment and with other communities. No matter where we come from, we can live together because together we constitute a common origin that adds to diversity.
Idea and coordination of: the Antonio Leone project.
Curated by: Giulia Ingarao, Paola Nicita, Diego Sileo.
Curator of plants in botanist Manlio Speciale.
Sergio Farfalla video.
Photography: Sergio Farfalla and Emanuele Lo Cascio.
Special thanks to all volunteers.
Roots 2015
(Volunteer: Neonila Adgezalova, Ucrania)
Specially designed for the Botanical Garden of Palermo, it recovers the relationship with nature. The Garden for its particular position creates a link between the sea and the city, natural microcosm, universal garden where species of all origins coexist. It is here that I, together with a group of migrants of 20 different nationalities, cling to the roots of trees and plants that correspond to the origin of each of us.
The performance focuses on the broader meaning of uprooting: and proposes a reflection based on the parallelism between plants around the world present in the Botanical Garden (many here illegally transported since the late eighteenth century) that today make up the landscape of the Garden – and foreign communities rooted in Palermo.
The action aims to reflect on how the human being could live peacefully despite the differences, set roots in any context and grow in harmony with the environment and with other communities. No matter where we come from, we can live together because together we constitute a common origin that adds to diversity.
Idea and coordination of: the Antonio Leone project.
Curated by: Giulia Ingarao, Paola Nicita, Diego Sileo.
Curator of plants in botanist Manlio Speciale.
Sergio Farfalla video.
Photography: Sergio Farfalla and Emanuele Lo Cascio.
Special thanks to all volunteers.
Roots 2015
(Volunteer: Patrycja Stefanek, Polonia)
Specially designed for the Botanical Garden of Palermo, it recovers the relationship with nature. The Garden for its particular position creates a link between the sea and the city, natural microcosm, universal garden where species of all origins coexist. It is here that I, together with a group of migrants of 20 different nationalities, cling to the roots of trees and plants that correspond to the origin of each of us.
The performance focuses on the broader meaning of uprooting: and proposes a reflection based on the parallelism between plants around the world present in the Botanical Garden (many here illegally transported since the late eighteenth century) that today make up the landscape of the Garden – and foreign communities rooted in Palermo.
The action aims to reflect on how the human being could live peacefully despite the differences, set roots in any context and grow in harmony with the environment and with other communities. No matter where we come from, we can live together because together we constitute a common origin that adds to diversity.
Idea and coordination of: the Antonio Leone project.
Curated by: Giulia Ingarao, Paola Nicita, Diego Sileo.
Curator of plants in botanist Manlio Speciale.
Sergio Farfalla video.
Photography: Sergio Farfalla and Emanuele Lo Cascio.
Special thanks to all volunteers.
Roots 2015
(Volunteer: Sandra Boakye, Ghana)
Specially designed for the Botanical Garden of Palermo, it recovers the relationship with nature. The Garden for its particular position creates a link between the sea and the city, natural microcosm, universal garden where species of all origins coexist. It is here that I, together with a group of migrants of 20 different nationalities, cling to the roots of trees and plants that correspond to the origin of each of us.
The performance focuses on the broader meaning of uprooting: and proposes a reflection based on the parallelism between plants around the world present in the Botanical Garden (many here illegally transported since the late eighteenth century) that today make up the landscape of the Garden – and foreign communities rooted in Palermo.
The action aims to reflect on how the human being could live peacefully despite the differences, set roots in any context and grow in harmony with the environment and with other communities. No matter where we come from, we can live together because together we constitute a common origin that adds to diversity.
Idea and coordination of: the Antonio Leone project.
Curated by: Giulia Ingarao, Paola Nicita, Diego Sileo.
Curator of plants in botanist Manlio Speciale.
Sergio Farfalla video.
Photography: Sergio Farfalla and Emanuele Lo Cascio.
Special thanks to all volunteers.
Roots 2015
(Volunteer: Kali Jones, Francia)
Specially designed for the Botanical Garden of Palermo, it recovers the relationship with nature. The Garden for its particular position creates a link between the sea and the city, natural microcosm, universal garden where species of all origins coexist. It is here that I, together with a group of migrants of 20 different nationalities, cling to the roots of trees and plants that correspond to the origin of each of us.
The performance focuses on the broader meaning of uprooting: and proposes a reflection based on the parallelism between plants around the world present in the Botanical Garden (many here illegally transported since the late eighteenth century) that today make up the landscape of the Garden – and foreign communities rooted in Palermo.
The action aims to reflect on how the human being could live peacefully despite the differences, set roots in any context and grow in harmony with the environment and with other communities. No matter where we come from, we can live together because together we constitute a common origin that adds to diversity.
Idea and coordination of: the Antonio Leone project.
Curated by: Giulia Ingarao, Paola Nicita, Diego Sileo.
Curator of plants in botanist Manlio Speciale.
Sergio Farfalla video.
Photography: Sergio Farfalla and Emanuele Lo Cascio.
Special thanks to all volunteers.
Roots 2015
(Volunteer, Mari Dilusya Philippu Rasa, Sri Lanka)
Specially designed for the Botanical Garden of Palermo, it recovers the relationship with nature. The Garden for its particular position creates a link between the sea and the city, natural microcosm, universal garden where species of all origins coexist. It is here that I, together with a group of migrants of 20 different nationalities, cling to the roots of trees and plants that correspond to the origin of each of us.
The performance focuses on the broader meaning of uprooting: and proposes a reflection based on the parallelism between plants around the world present in the Botanical Garden (many here illegally transported since the late eighteenth century) that today make up the landscape of the Garden – and foreign communities rooted in Palermo.
The action aims to reflect on how the human being could live peacefully despite the differences, set roots in any context and grow in harmony with the environment and with other communities. No matter where we come from, we can live together because together we constitute a common origin that adds to diversity.
Idea and coordination of:
the Antonio Leone project.
Curated by: Giulia Ingarao, Paola Nicita, Diego Sileo.
Curator of plants in botanist Manlio Speciale.
Sergio Farfalla video.
Photography: Sergio Farfalla and Emanuele Lo Cascio.
Special thanks to all volunteers.
Roots 2015
(Volunteer: Sofia Mozian, Morocco)
Specially designed for the Botanical Garden of Palermo, it recovers the relationship with nature. The Garden for its particular position creates a link between the sea and the city, natural microcosm, universal garden where species of all origins coexist. It is here that I, together with a group of migrants of 20 different nationalities, cling to the roots of trees and plants that correspond to the origin of each of us.
The performance focuses on the broader meaning of uprooting: and proposes a reflection based on the parallelism between plants around the world present in the Botanical Garden (many here illegally transported since the late eighteenth century) that today make up the landscape of the Garden – and foreign communities rooted in Palermo.
The action aims to reflect on how the human being could live peacefully despite the differences, set roots in any context and grow in harmony with the environment and with other communities. No matter where we come from, we can live together because together we constitute a common origin that adds to diversity.
Idea and coordination of the Antonio Leone project.
Curated by: Giulia Ingarao, Paola Nicita, Diego Sileo.
Curator of plants in botanist Manlio Speciale.
Sergio Farfalla video.
Photography: Sergio Farfalla and Emanuele Lo Cascio.
Special thanks to all volunteers.Roots 2015
(Volunteer: Diego S. Paini, Argentina)
Specially designed for the Botanical Garden of Palermo, it recovers the relationship with nature. The Garden for its particular position creates a link between the sea and the city, natural microcosm, universal garden where species of all origins coexist. It is here that I, together with a group of migrants of 20 different nationalities, cling to the roots of trees and plants that correspond to the origin of each of us.
The performance focuses on the broader meaning of uprooting: and proposes a reflection based on the parallelism between plants around the world present in the Botanical Garden (many here illegally transported since the late eighteenth century) that today make up the landscape of the Garden – and foreign communities rooted in Palermo.
The action aims to reflect on how the human being could live peacefully despite the differences, set roots in any context and grow in harmony with the environment and with other communities. No matter where we come from, we can live together because together we constitute a common origin that adds to diversity.
Idea and coordination of: the Antonio Leone project.
Curated by: Giulia Ingarao, Paola Nicita, Diego Sileo.
Curator of plants in botanist Manlio Speciale.
Sergio Farfalla video.
Photography: Sergio Farfalla and Emanuele Lo Cascio.
Special thanks to all volunteers.
Roots 2015
(Volunteer: Elpidio Miniado, Philippines)
Specially designed for the Botanical Garden of Palermo, it recovers the relationship with nature. The Garden for its particular position creates a link between the sea and the city, natural microcosm, universal garden where species of all origins coexist. It is here that I, together with a group of migrants of 20 different nationalities, cling to the roots of trees and plants that correspond to the origin of each of us.
The performance focuses on the broader meaning of uprooting: and proposes a reflection based on the parallelism between plants around the world present in the Botanical Garden (many here illegally transported since the late eighteenth century) that today make up the landscape of the Garden – and foreign communities rooted in Palermo.
The action aims to reflect on how the human being could live peacefully despite the differences, set roots in any context and grow in harmony with the environment and with other communities. No matter where we come from, we can live together because together we constitute a common origin that adds to diversity.
Idea and coordination of:
the Antonio Leone project.
Curated by: Giulia Ingarao, Paola Nicita, Diego Sileo.
Curator of plants in botanist Manlio Speciale.
Sergio Farfalla video.
Photography: Sergio Farfalla and Emanuele Lo Cascio.
Special thanks to all volunteers.Roots 2015
(Volunteer: Andy Samoisy, Mauritius)
Specially designed for the Botanical Garden of Palermo, it recovers the relationship with nature. The Garden for its particular position creates a link between the sea and the city, natural microcosm, universal garden where species of all origins coexist. It is here that I, together with a group of migrants of 20 different nationalities, cling to the roots of trees and plants that correspond to the origin of each of us.
The performance focuses on the broader meaning of uprooting: and proposes a reflection based on the parallelism between plants around the world present in the Botanical Garden (many here illegally transported since the late eighteenth century) that today make up the landscape of the Garden – and foreign communities rooted in Palermo.
The action aims to reflect on how the human being could live peacefully despite the differences, set roots in any context and grow in harmony with the environment and with other communities. No matter where we come from, we can live together because together we constitute a common origin that adds to diversity.
Idea and coordination of:
the Antonio Leone project.
Curated by: Giulia Ingarao, Paola Nicita, Diego Sileo.
Curator of plants in botanist Manlio Speciale.
Sergio Farfalla video.
Photography: Sergio Farfalla and Emanuele Lo Cascio.
Special thanks to all volunteers.
Roots 2015
(Volunteer: Amadou Ba, Guinea)
Specially designed for the Botanical Garden of Palermo, it recovers the relationship with nature. The Garden for its particular position creates a link between the sea and the city, natural microcosm, universal garden where species of all origins coexist. It is here that I, together with a group of migrants of 20 different nationalities, cling to the roots of trees and plants that correspond to the origin of each of us.
The performance focuses on the broader meaning of uprooting: and proposes a reflection based on the parallelism between plants around the world present in the Botanical Garden (many here illegally transported since the late eighteenth century) that today make up the landscape of the Garden – and foreign communities rooted in Palermo.
The action aims to reflect on how the human being could live peacefully despite the differences, set roots in any context and grow in harmony with the environment and with other communities. No matter where we come from, we can live together because together we constitute a common origin that adds to diversity.
Idea and coordination of: the Antonio Leone project.
Curated by: Giulia Ingarao, Paola Nicita, Diego Sileo.
Curator of plants in botanist Manlio Speciale.
Sergio Farfalla video.
Photography: Sergio Farfalla and Emanuele Lo Cascio.
Special thanks to all volunteers.Roots 2015
(Volunteer: Han Xinli, China)
Specially designed for the Botanical Garden of Palermo, it recovers the relationship with nature. The Garden for its particular position creates a link between the sea and the city, natural microcosm, universal garden where species of all origins coexist. It is here that I, together with a group of migrants of 20 different nationalities, cling to the roots of trees and plants that correspond to the origin of each of us.
The performance focuses on the broader meaning of uprooting: and proposes a reflection based on the parallelism between plants around the world present in the Botanical Garden (many here illegally transported since the late eighteenth century) that today make up the landscape of the Garden – and foreign communities rooted in Palermo.
The action aims to reflect on how the human being could live peacefully despite the differences, set roots in any context and grow in harmony with the environment and with other communities. No matter where we come from, we can live together because together we constitute a common origin that adds to diversity.
Idea and coordination of:
the Antonio Leone project.
Curated by: Giulia Ingarao, Paola Nicita, Diego Sileo.
Curator of plants in botanist Manlio Speciale.
Sergio Farfalla video.
Photography: Sergio Farfalla and Emanuele Lo Cascio.
Special thanks to all volunteers.Roots 2015
(Volunteer: Andrea Kantos, Svezia)
Specially designed for the Botanical Garden of Palermo, it recovers the relationship with nature. The Garden for its particular position creates a link between the sea and the city, natural microcosm, universal garden where species of all origins coexist. It is here that I, together with a group of migrants of 20 different nationalities, cling to the roots of trees and plants that correspond to the origin of each of us.
The performance focuses on the broader meaning of uprooting: and proposes a reflection based on the parallelism between plants around the world present in the Botanical Garden (many here illegally transported since the late eighteenth century) that today make up the landscape of the Garden – and foreign communities rooted in Palermo.
The action aims to reflect on how the human being could live peacefully despite the differences, set roots in any context and grow in harmony with the environment and with other communities. No matter where we come from, we can live together because together we constitute a common origin that adds to diversity.
Idea and coordination of: the Antonio Leone project.
Curated by: Giulia Ingarao, Paola Nicita, Diego Sileo.
Curator of plants in botanist Manlio Speciale.
Sergio Farfalla video.
Photography: Sergio Farfalla and Emanuele Lo Cascio.
Special thanks to all volunteers.Roots 2015
(Volunteer: Marjolein Wortmann, Holanda)
Specially designed for the Botanical Garden of Palermo, it recovers the relationship with nature. The Garden for its particular position creates a link between the sea and the city, natural microcosm, universal garden where species of all origins coexist. It is here that I, together with a group of migrants of 20 different nationalities, cling to the roots of trees and plants that correspond to the origin of each of us.
The performance focuses on the broader meaning of uprooting: and proposes a reflection based on the parallelism between plants around the world present in the Botanical Garden (many here illegally transported since the late eighteenth century) that today make up the landscape of the Garden – and foreign communities rooted in Palermo.
The action aims to reflect on how the human being could live peacefully despite the differences, set roots in any context and grow in harmony with the environment and with other communities. No matter where we come from, we can live together because together we constitute a common origin that adds to diversity.
Idea and coordination of:
the Antonio Leone project.
Curated by: Giulia Ingarao, Paola Nicita, Diego Sileo.
Curator of plants in botanist Manlio Speciale.
Sergio Farfalla video.
Photography: Sergio Farfalla and Emanuele Lo Cascio.
Special thanks to all volunteers.
Roots 2015
(Volunteer Niamkey Awatchi, German)
Specially designed for the Botanical Garden of Palermo, it recovers the relationship with nature. The Garden for its particular position creates a link between the sea and the city, natural microcosm, universal garden where species of all origins coexist. It is here that I, together with a group of migrants of 20 different nationalities, cling to the roots of trees and plants that correspond to the origin of each of us.
The performance focuses on the broader meaning of uprooting: and proposes a reflection based on the parallelism between plants around the world present in the Botanical Garden (many here illegally transported since the late eighteenth century) that today make up the landscape of the Garden – and foreign communities rooted in Palermo.
The action aims to reflect on how the human being could live peacefully despite the differences, set roots in any context and grow in harmony with the environment and with other communities. No matter where we come from, we can live together because together we constitute a common origin that adds to diversity.
Idea and coordination of:
the Antonio Leone project.
Curated by: Giulia Ingarao, Paola Nicita, Diego Sileo.
Curator of plants in botanist Manlio Speciale.
Sergio Farfalla video.
Photography: Sergio Farfalla and Emanuele Lo Cascio.
Special thanks to all volunteers.Roots 2015
(Volunteer: Nahar Mosfiqun, Bangladesh)
Specially designed for the Botanical Garden of Palermo, it recovers the relationship with nature. The Garden for its particular position creates a link between the sea and the city, natural microcosm, universal garden where species of all origins coexist. It is here that I, together with a group of migrants of 20 different nationalities, cling to the roots of trees and plants that correspond to the origin of each of us.
The performance focuses on the broader meaning of uprooting: and proposes a reflection based on the parallelism between plants around the world present in the Botanical Garden (many here illegally transported since the late eighteenth century) that today make up the landscape of the Garden – and foreign communities rooted in Palermo.
The action aims to reflect on how the human being could live peacefully despite the differences, set roots in any context and grow in harmony with the environment and with other communities. No matter where we come from, we can live together because together we constitute a common origin that adds to diversity.
Idea and coordination of: the Antonio Leone project.
Curated by: Giulia Ingarao, Paola Nicita, Diego Sileo.
Curator of plants in botanist Manlio Speciale.
Sergio Farfalla video.
Photography: Sergio Farfalla and Emanuele Lo Cascio.
Special thanks to all volunteers.Roots 2015
(Volunteer: Claudia Di Gangi, Italia)
Specially designed for the Botanical Garden of Palermo, it recovers the relationship with nature. The Garden for its particular position creates a link between the sea and the city, natural microcosm, universal garden where species of all origins coexist. It is here that I, together with a group of migrants of 20 different nationalities, cling to the roots of trees and plants that correspond to the origin of each of us.
The performance focuses on the broader meaning of uprooting: and proposes a reflection based on the parallelism between plants around the world present in the Botanical Garden (many here illegally transported since the late eighteenth century) that today make up the landscape of the Garden – and foreign communities rooted in Palermo.
The action aims to reflect on how the human being could live peacefully despite the differences, set roots in any context and grow in harmony with the environment and with other communities. No matter where we come from, we can live together because together we constitute a common origin that adds to diversity.
Idea and coordination of:
the Antonio Leone project.
Curated by: Giulia Ingarao, Paola Nicita, Diego Sileo.
Curator of plants in botanist Manlio Speciale.
Sergio Farfalla video.
Photography: Sergio Farfalla and Emanuele Lo Cascio.
Special thanks to all volunteers.Roots 2015
(Volunteer: Ale Voutsinas, Grecia)
Specially designed for the Botanical Garden of Palermo, it recovers the relationship with nature. The Garden for its particular position creates a link between the sea and the city, natural microcosm, universal garden where species of all origins coexist. It is here that I, together with a group of migrants of 20 different nationalities, cling to the roots of trees and plants that correspond to the origin of each of us.
The performance focuses on the broader meaning of uprooting: and proposes a reflection based on the parallelism between plants around the world present in the Botanical Garden (many here illegally transported since the late eighteenth century) that today make up the landscape of the Garden – and foreign communities rooted in Palermo.
The action aims to reflect on how the human being could live peacefully despite the differences, set roots in any context and grow in harmony with the environment and with other communities. No matter where we come from, we can live together because together we constitute a common origin that adds to diversity.
Idea and coordination of: the Antonio Leone project.
Curated by: Giulia Ingarao, Paola Nicita, Diego Sileo.
Curator of plants in:
botanist Manlio Speciale.
Sergio Farfalla video.
Photography Sergio Farfalla and Emanuele Lo Cascio.
Special thanks to all volunteers.
Roots 2015
(Volunteer: Laura Balcazar, Colombia)
Specially designed for the Botanical Garden of Palermo, it recovers the relationship with nature. The Garden for its particular position creates a link between the sea and the city, natural microcosm, universal garden where species of all origins coexist. It is here that I, together with a group of migrants of 20 different nationalities, cling to the roots of trees and plants that correspond to the origin of each of us.
The performance focuses on the broader meaning of uprooting: and proposes a reflection based on the parallelism between plants around the world present in the Botanical Garden (many here illegally transported since the late eighteenth century) that today make up the landscape of the Garden – and foreign communities rooted in Palermo.
The action aims to reflect on how the human being could live peacefully despite the differences, set roots in any context and grow in harmony with the environment and with other communities. No matter where we come from, we can live together because together we constitute a common origin that adds to diversity.
Idea and coordination of: the Antonio Leone project.
Curated by: Giulia Ingarao, Paola Nicita, Diego Sileo.
Curator of plants in botanist Manlio Speciale.
Sergio Farfalla video.
Photography: Sergio Farfalla and Emanuele Lo Cascio.
Special thanks to all volunteers. Roots 2015
(Volunteer: Mahbubur Rahman, Bangladesh)
Specially designed for the Botanical Garden of Palermo, it recovers the relationship with nature. The Garden for its particular position creates a link between the sea and the city, natural microcosm, universal garden where species of all origins coexist. It is here that I, together with a group of migrants of 20 different nationalities, cling to the roots of trees and plants that correspond to the origin of each of us.
The performance focuses on the broader meaning of uprooting: and proposes a reflection based on the parallelism between plants around the world present in the Botanical Garden (many here illegally transported since the late eighteenth century) that today make up the landscape of the Garden – and foreign communities rooted in Palermo.
The action aims to reflect on how the human being could live peacefully despite the differences, set roots in any context and grow in harmony with the environment and with other communities. No matter where we come from, we can live together because together we constitute a common origin that adds to diversity.
Idea and coordination of: the Antonio Leone project.
Curated by: Giulia Ingarao, Paola Nicita, Diego Sileo.
Curator of plants in botanist Manlio Speciale.
Sergio Farfalla video.
Photography: Sergio Farfalla and Emanuele Lo Cascio.
Special thanks to all volunteers.Estoy Viva (I’m Alive) 2014
Metal and paint
9.8 x 66.9 inEstoy viva 2014
Digital print on paper
39.4 x 59 in
I am completely anesthetized, and lay still upon a white base. The audience is free to check my breathing with a small mirror to confirm that I am alive.
Produced by: PAC – Padiglione d’Arte Contemporanea. During the period of the exhibition Estoy Viva.
Curator: Diego Sileo & Eugenio Viola.
Video & Photography: Andrea Sartori.
Editing: José Enrique Juárez.
(Milano, Italy. 2014)
Suelo común (Common Ground) 2013
Performance documentation
Mostec, Slovenia – Under the corn fields, de ski slopes, and the Slovenian school playgrounds, skulls,
bones, and teeth are found – the remains of thousands of people whose destinies have been lost for
many decades.
By Snjezana Vukic, The Associated Press.
Down
Under
Subsoil
Underworlds
Underground
There they hide, away from reality, away from our reality.
We walk over their remains without realizing it, they are the land that sustain us, where we are really standing.
In Guatemala, as in Slovenia, hundreds of mass graves occupy our territories. In Slovenia, as in Guatemala, we are standing over a hidden past, of which little is said, which we refuse to unearth.
Curator: Yasmín Martín Vodopivec
Photography: Jaka Babnik
(Commissioned and produced by the International Centre of Graphic Arts / Aleš Bracović. Slovenia.
2013)Combustible 2014
“Three months of Ebola can fix the global population explosion and stop mass immigration.”
– Jean-Marie Le Pen.
“We are being invaded. I wish people could talk about our border in the same way they talk about the Israeli border.”
– Ann Coulter.
The strength of immigrants as an engine for a society to move forward.
The strength of immigrants like gasoline, fuel.
In the city of Santo Domingo, eight people of Haitian origin, push a collective taxi that makes its daily route, without gasoline.
Video: José Juárez.
Photography: David Perez.
With the support of the Cultural Center of Spain of Santo Domingo and Artestudio.
Santo Domingo, Dominican Republic.
Combustible 2014
“Three months of Ebola can fix the global population explosion and stop mass immigration.”
– Jean-Marie Le Pen.
“We are being invaded. I wish people could talk about our border in the same way they talk about the Israeli border.”
– Ann Coulter.
The strength of immigrants as an engine for a society to move forward.
The strength of immigrants like gasoline, fuel.
In the city of Santo Domingo, eight people of Haitian origin, push a collective taxi that makes its daily route, without gasoline.
Video: José Juárez.
Photography: David Perez.
With the support of the Cultural Center of Spain of Santo Domingo and Artestudio.
Santo Domingo, Dominican Republic.Combustible 2014
“Three months of Ebola can fix the global population explosion and stop mass immigration.”
– Jean-Marie Le Pen.
“We are being invaded. I wish people could talk about our border in the same way they talk about the Israeli border.”
– Ann Coulter.
The strength of immigrants as an engine for a society to move forward.
The strength of immigrants like gasoline, fuel.
In the city of Santo Domingo, eight people of Haitian origin, push a collective taxi that makes its daily route, without gasoline.
Video: José Juárez.
Photography: David Perez.
With the support of the Cultural Center of Spain of Santo Domingo and Artestudio.
Santo Domingo, Dominican Republic.
Tierra (Land) 2013
For thirty-six years Guatemala lived through one of the bloodiest wars in recent history, a genocide that left more than 200,000 people dead. The army that fought against the guerrilla insurgency considered the indigenous people of Guatemala to be internal enemies that sympathized with the guerrilla. For thirty-six bloody years, the army fervently persecuted the indigenous population. With the intention of keeping the land (under the supervision of the tyrannical government), and the justification that the indigenous people were enemies of the homeland, the State put into practice the scorched earth strategy. This was a common and characteristic practice of the Guatemalan armed conflict. Troops of army soldiers and civil defense patrollers arrived in the indigenous communities and destroyed anything that might be used for survival: food, clothing, crops, houses, animals, etc. They burned everything. They raped, they tortured. They murdered. Many bodies were buried in mass graves that today make up part of the long list of evidence confirming the fact of the genocide.
The aforementioned testimony tells of one of the ways in which the Army constructed the graves before murdering the indigenous people and throwing their bodies inside. The testimony was heard during the genocide trial against Ríos Montt and Sánchez Rodríguez. Guatemala 2013.
Curator: Clare Caroline.
Camera and photography: Bertrand Huet.
Camera: Didier Martial.
Operario: Pascal Pauger.
Estudio Orta Assistants: Tiziana Abretti, Sofia Cavicchini, Andrea Rinaudo, Alberto Orta.
Commissioned and produced by Lucy and Jorge Orta.
This project was carried out during the Residency Program of Les Moulins with the support of the University of the Arts London and La Maréchalerie centre d’art Versailles.
(Les Moulins, France. 2013)Stone 2013
My body remains still, covered with coal, like a stone
Three volunteers urinate on the stone-body
Video: Víctor Bautista, Henry Castillo
Photos: Julio Pantoja, Marlene Ramírez-Cancio
8th Hemispheric Encounter of the Center for Art and Political Studies
São Paulo, BrazilThe Truth 2013
For an hour I read testimonies from survivors of the armed conflict in Guatemala while a dentist attempted over and over again to silence me, anesthetizing my mouth.
Video: José Juárez
Photos: David Pérez, Jorge Linares
Centro de Cultura de España,
Guatemala CityNo violaras, Ciudad de Guatemala 2012
Billboard located in public space
4x6mts
Kilometer 18, Guatemala City
Piel de gallina (Goosebumps) 2012
Single channel video
15:51 min
The phenomenon of goose bumps is caused by a tiny group of muscles called musculus erector pili. It is a natural response to stimuli such as cold or emotional stress. The erector muscle then contracts and the hair stand on end, and this pilomotor reflex occurs.
My body lies inside a refrigerated mortuary cabinet. The public must open the cabinet and draw out the tray with my body on it to observe the effect of cold on my skin.
Curator: Blanca de la Torre
Video: Karin Dolk
Photography: Gert Voor in’t Holt
Commissioned and produced by Artium.Hilo de tiempo (Time Thread) 2012
Two-channel HD video
18:02 min
You have to go back in time to find the reason for so much death and thus to find life.
I remain hidden in a bag woven for corpses. The public is free to gradually unravel the bag until the body is uncovered.
Production: Doris Difarnecio and Caleb Duarte Piñón.
Camera: Mia Eve Rollow, Thomas Erling and María Jiménez Romero.
Edition: José Enrique Juárez.
Photography: María Jiménez Romero, Lydia Reich and Cecilia Monroy Cuevas.
Commissioned and produced by Centro Hemisférico de Performance y Política en Chiapas y EDELO casa de arte en movimiento y residencia interculturalNecromonas 2012
The smell of death penetrates more than any pestilence, because it is the warning of near death. A signal. The smell enters through the orifices and leads us to the irrefutable fact of a near death. It is proven that some insects emit a mixture of chemicals before they die, a kind of universal “smell of death”. These chemicals, called necromonas, are made up of a mixture of acids that are emitted by bodies before death to signal it to other members of your community.
Necromonas is a scent performance. My body remains naked, passive, on a base that hides the corpse of a decomposing pig.
Curator: Blanca de la Torre.
Video: Roberto Lucas.
Photos: Emilio Prieto Pérez.Falso León 2011
In 2005, the artist won the Golden Lion as best artist under 35 at the 51 Venice Biennale.
In 2007 she sold the Golden Lion to the Spanish artist Santiago Sierra, who in turn resells it to a collector.
In 2011 she commissioned an exact copy of the Golden Lion from my my sculptor friends, Angel and Fernando Poyón from Guatemala. They give me an exact copy cast in bronze with a Guatemalan gold bath.
Pavilion of Latin America IlLA. 54 Venice Biennale. Venice, Italy
Alud (Avalanche) 2011
Single channel video
13:11 min
The water flows. The body is there, dirty. The passive positions of the public as onlookers is replaced by the action of participating and cleaning the body, motivated perhaps by certain empathy towards this unknown person, hidden under the mud.
Curator: Eirini Papakonstantinou.
(Thessaloniki Performance Festival, parallel programme of the 3rd Thessaloniki Biennale of Contemporary Art.)
©State Museum of Contemporary Art & the artist.Lección de anatomía (Anatomy Lesson) 2011
Single channel video
37:37 min
An anatomy lesson for a group of students is given by teacher Dr. Paul Carter. My body is used as a reference and a medium and the students draw on me the lines of dissection indicated by the professor.
Surgeon: Mr Paul Carter
Medical students: Michaela Augustine, Russell Channer, Tara Henshaw, Patrick Popat and Daniel Whitlock
Curator: Jessica Kenny
Camera operator: Will Wright
Photography: Matthew Bowman
This commission was led by Art Exchange at the University of Essex, with the support of Arts Council, Firstsite, ESCALA and ROLLO.Looting 2010
(First part, Guatemala)
On the one hand the conquest, the war, the policy of scorched earth, the exploitation of the soils, the humiliated. On the other the conqueror, the one who gives the orders, the man of the old world, the one who raises his hand and keeps the gold.
In Guatemala, a dentist makes holes in the molars of the artist and places 8 inlays of national gold of the highest purity.
In Berlin, a German doctor removes all the gold fillers from my teeth. These small sculptures, eight in all, are left exposed as objects of art.
Photography: Judith Affolter and Marlon García
Fideo Mike Rettel and David Pérez
Commissioned and produced by House der Kulturen der Welt. Berlin, GermanyLooting 2010
(First Part, Guatemala)
On the one hand the conquest, the war, the policy of scorched earth, the exploitation of the soils, the humiliated. On the other the conqueror, the one who gives the orders, the man of the old world, the one who raises his hand and keeps the gold.
In Guatemala, a dentist makes holes in the molars of the artist and places 8 inlays of national gold of the highest purity.
In Berlin, a German doctor removes all the gold fillers from my teeth. These small sculptures, eight in all, are left exposed as objects of art.
Photography: Judith Affolter and Marlon García
Fideo Mike Rettel and David Pérez
Commissioned and produced by House der Kulturen der Welt. Berlin, Germany
Looting 2010
(Second part, Berlin)
On the one hand the conquest, the war, the policy of scorched earth, the exploitation of the soils, the humiliated. On the other the conqueror, the one who gives the orders, the man of the old world, the one who raises his hand and keeps the gold.
In Guatemala, a dentist makes holes in the molars of the artist and places 8 inlays of national gold of the highest purity.
In Berlin, a German doctor removes all the gold fillers from my teeth. These small sculptures, eight in all, are left exposed as objects of art.
Photography: Judith Affolter and Marlon García
Fideo Mike Rettel and David Pérez
Commissioned and produced by: House der Kulturen der Welt. Berlin, GermanyBusto (Bust) 2009
Resin and fiber
61 x 46 x 38 in
Classic bust of myself, made in resin.
Sculpture: Eduard Severino
Photography: Patrick HamiltonAmerica’s Family Prison 2008
Single channel video
56:49 min
The artist rents a family-sized from a company that offers all types of products and services to the private-prison industry on USA. Talkin T. Don Hutto’s family cells as my model, the artist adapts it and lives in it with her daughter and husband for 24 hours. When they came out, the door remains open and the cell is shown as a work of art
Photography: Todd Johnson and Kimberly Abuchon
Funded and produced by ArtPace. San Antonio, Texas, USAAmerica’s family prison 2008
Single channel video
56:49 min
The artist rents a family-sized from a company that offers all types of products and services to the private-prison industry on USA. Talkin T. Don Hutto’s family cells as my model, the artist adapts it and lives in it with her daughter and husband for 24 hours. When they came out, the door remains open and the cell is shown as a work of art
Photography: Todd Johnson and Kimberly Abuchon
Funded and produced by: ArtPace. San Antonio, Texas, USA
Cepo (Clamp) 2007
Digital print on paper
70.4 x 39.3 in
Man is condemned to be free.
-Jean Paul Sartre
My body remains blocked in a pillory for 12 hours in a row.
Photography: David Pérez
Espacio Volume, Rome, ItalyConfesión (Confession) 2007
Single channel video
3:55 min
A volunteer performs the water-boarding torture technique on my body.
Photography: Julian Stallabrass
Video: Eva Montes Palmer
Commissioned and produced by La Caja Blanca, Palma de Mallorca, Spain.
Desalojo 2007
Floor consisting of 160 tombstones from exhumations in working-class cemeteries in Guatemala City.
Photography: Marlon García
Centro Cultural de España, Guatemala City, Guatemala.Isla (Island) 2006
Digital print on paper
29.5 x 39 in
I remain immobile on a reef forming a puddle with my own urine around me.
Photography: Engel Leonardo
Curso de supervivencia para hombres y mujeres que viajarán de manera ilegal a los Estados Unidos 2007
The artist organized an intensive survival course for a group of 10 people of both sexes who would soon travel to the United States illegally. In the course they learned topics such as resistance, orientation and interpretation of maps, fire, first aid, and a section on how to learn to climb a wall.
Instructor: Carlos Ixcot
Photography: Marlon García
Video: David Pérez
Guatemala CityLimpieza social (Social Cleaning) 2006
Single channel video
1:56 min
I receive a pressure wash with a hose, the method used to quell demonstrations and also to wash newly arrived prisoners.
Photography: Hugo Muñoz
Il Pottere Delle Donne, Galeria Civica Nacional, Trento, Italy
Carnada 2006
Single channel video
05:01 min
I remain motionless in a fishing net, hanging from a tree some meters from the ground, facing the sea.
Photography: Ivory Núñez & David Pérez
Vídeo: David Pérez
Malecón de Santo Domingo, Dominican RepublicPerra (Bitch) 2005
Single channel video
5:44 min
I write the word BITCH with a knife on my right leg.
A condemnation of the acts committed against women in Guatemala, where tortured bodies, have appeared inscriptions carved on them with knives blades
Prometeo Gallery di Ida Pisani, Milano, Italia
Perra (Bitch) 2005
Single channel video
5:44 min
I write the word BITCH with a knife on my right leg
A condemnation of the acts committed against women in Guatemala, where tortured bodies, have appeared inscriptions carved on them with knives blades
Prometeo Gallery di Ida Pisani
Milano, ItaliaBoda Galindo-Herrera (Galindo-Herrera Wedding) 2004
I dress as a bride and take a picture in a photographic studio that specializes in wedding photos to leave a record of an event that didn’t happen.
Photography: Canche Serra.
Comunicarte e Invitados, Antigua GuatemalaHimenoplastia 2004
Single channel video
07:19 min
A surgical operation in which they reconstruct my hymen to make me virgin again.
Photography: Belia de Vico
Video: Anibal Lopez
Colectiva cinismo, espacio contexto, Guatemala ¿Quien puede borrar las huellas? 2003
Single channel video
37:28 min.
Walk of the Constitutional Court to the National Palace of Guatemala, leaving a trail of tracks made with human blood, in memory of the victims of the armed conflict in Guatemala, in rejection of the presidential candidacy of former military, genocidal and coup supporter Efraín Ríos Montt.
Photography: Victor Pérez
Video Damilo Montenegro
Ciudad de Guatemala, Guatemala.
¿Quién puede borrar las huellas? 2003
Single channel video
37:28 min.
Walk of the Constitutional Court to the National Palace of Guatemala, leaving a trail of tracks made with human blood, in memory of the victims of the armed conflict in Guatemala, in rejection of the presidential candidacy of former military, genocidal and coup supporter Efraín Ríos Montt.
Photography: Victor Pérez
Video Damilo Montenegro
Ciudad de Guatemala, Guatemala.
¿Quién puede borrar las huellas? 2003
Single channel video
37:28 min.
Walk of the Constitutional Court to the National Palace of Guatemala, leaving a trail of tracks made with human blood, in memory of the victims of the armed conflict in Guatemala, in rejection of the presidential candidacy of former military, genocidal and coup supporter Efraín Ríos Montt.
Photography: Victor Pérez
Video Damilo Montenegro
Ciudad de Guatemala, Guatemala.
Autocanibalismo (Self-Cannibalism) 2001
Single channel video
13:00 min
The compulsive action of biting my nails.
Photography: Belia de Vico
Vídeo: Alejandro Marré
Contexto, Arte Contemporáneo en Guatemala. Santa Catarina Pinula, Guatemala.Skin 2001
Single channel video
14:46 min
I shave absolutely all the hair from my body, I walk this way through the streets of Venice
La Platea de la Humanidad, 49 Venice Biennial
Venice, Italy
No perdemos nada con nacer (We Lose Nothing by Being Born) 2000
Single channel video
4:25 min
Put in a clear plastic bag, like human rubbish, I am placed in Guatemala’s Municipal Dump.
9th Performance Festival
Ex-Teresa Current Art
Zocalo of Mexico City, Mexico
Second Festival of the Historical Center
Municipal Dump, GuatemalaLo voy a gritar al viento (I’m Going To Scream at the Wind) 1999
Single channel video
3:44 min
The artist hangs on the Arch of the Post Office Building in Guatemala City and reads poems on the air.
Photography: Marvin Olivares Ron Mocán.
II Festival del Centro Histórico. Arco de Correos. Guatemala.
Lo voy a gritar al viento (I’m Going To Scream at the Wind) 1999
Single channel video
3:44 min
The artist hangs on the Arch of the Post Office Building in Guatemala City and reads poems on the air.
Photography: Marvin Olivares Ron Mocán.
II Festival del Centro Histórico. Arco de Correos. Guatemala.
Regina José Galindo (Guatemala, 1974) lives and works in Guatemala. Her artistic practice places her own body in a public dimension, appealing to anyone who has experienced or witnessed political or personal violence. Since she was invited by Harald Szeemann to the 49th Venice Biennale with the work El dolor en un pañuelo -where she also performed Piel- Regina José Galindo has presented her practice in multiple international exhibitions. She was awarded the Golden Lion for best artist under 35 for Himenoplastía at the 51st Venice Biennale. Galindo participated in documenta14 in Athens and Kassel, and also in the Istanbul, Prague, and Tirana Biennials, as well as in exhibitions in PAC Milan, Tate Modern, London, Solomon R. Guggenheim Museum, and PS1 Museum, New York. Her work is in the collections of MoMa (NY), The Solomon R. Guggenheim Museum (NY), Centre Georges Pompidou (Paris), MALBA (Buenos Aires), Castello di Rivoli (Turin), and the Tate Collection (UK), amongst others.
Follow Regina José Galindo
Exhibitions by Regina José Galindo at Proyectos Ultravioleta: