Regina José Galindo
Guatemala City,Guatemala1974
The 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 Center
The 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 Center
The Body
2023 Installation view The Watermill Center, New York Photo: Courtesy of The Watermill Center
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.
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 Pontogor
Anestesia, 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 Pontogor
Anestesia, 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 Pontogor
Tierra (Land)
2022 Exhibition view PAV Parco Arte Vivente, Turin Photo: Francesca Cirilli
Tierra (Land)
2022 Exhibition view PAV Parco Arte Vivente, Turin Photo: Francesca Cirilli
Tierra (Land)
2022 Exhibition view PAV Parco Arte Vivente, Turin Photo: Francesca Cirilli
Tierra (Land)
2022 Exhibition view PAV Parco Arte Vivente, Turin Photo: Francesca Cirilli
Tierra (Land)
2022 Exhibition view PAV Parco Arte Vivente, Turin Photo: Francesca Cirilli
El Grito
2022 Exhibition view La Nueva Fabrica Antigua Guatemala, Photo: Ana Werren
El Grito
2022 Exhibition view La Nueva Fabrica Antigua Guatemala, Photo: Ana Werren
El Grito
2022 Exhibition view La Nueva Fabrica Antigua Guatemala, Photo: Ana Werren
El Grito
2022 Exhibition view La Nueva Fabrica Antigua Guatemala, Photo: Ana Werren
El Grito
2022 Exhibition view La Nueva Fabrica Antigua Guatemala, Photo: Ana Werren
Ríos de gente (Rivers of People)
2022 Exhibition view Proyectos Ultravioleta Guatemala City
Ríos de gente (Rivers of People)
2022 Exhibition view Proyectos Ultravioleta Guatemala City
Ríos de gente (Rivers of People)
2022 Exhibition view Proyectos Ultravioleta Guatemala City
Ríos de gente (Rivers of People)
2022 Exhibition view Proyectos Ultravioleta Guatemala City
Ríos 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 in
Ríos de gente (Rivers of People)
2022 Exhibition view Proyectos Ultravioleta Guatemala City
Ríos de gente (Rivers of People)
2022 Exhibition view Proyectos Ultravioleta Guatemala City
Ríos 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 min
Ríos de gente (Rivers of People)
2021 Installation of four-channel video, four-channel audio Channel 4 01:54 min
Ríos 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 min
Jardín 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
Jardín 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
Jardín 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 Begrich
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 Begrich
Rios 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
Rios 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 City
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 City
El 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 Henke
El 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 Silva
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
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 City
Illicit Association
2017 Intervened firearm (bought in the black market) 9 x 28 in
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 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 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 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 Szewc
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
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 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 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 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 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 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 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 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 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 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 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 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 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 Juárez
Ascención (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, Chile
Roots
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 in
Estoy 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, Brazil
The 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 City
No 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 intercultural
Necromonas
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, Germany
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, 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, Germany
Busto (Bust)
2009 Resin and fiber 61 x 46 x 38 in Classic bust of myself, made in resin. Sculpture: Eduard Severino Photography: Patrick Hamilton
America’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
America’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, Italy
Confesión (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 City
Limpieza 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 Republic
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, 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, Italia
Boda 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 Guatemala
Himenoplastia
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, 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.
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.
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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 minRíos 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, GuatemalaEl 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, ChinaPotencia 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, ChinaPotencia 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, ChinaMonumento 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 GuatemalaLa 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 GuatemalaLa 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 GuatemalaBandera 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, GermanyThe 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, GermanyPresence
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 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 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, USACepo (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, ItalyCarnada
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.
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.
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Exhibitions by Regina José Galindo at Proyectos Ultravioleta:
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Walking Through a Forest, at Night
group show
Guatemala
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The Night Dies by the Day, the Day Dies by the Night
group show
Guatemala
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Ríos de gente (Rivers of People)
solo show
Guatemala City
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Art-o-rama 2021
solo show
Marseille
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Vortic 2021
group show
Online
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South South Veza 2021
group show
New York
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Frieze NY 2020
group show
Online
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The Gardeners
group show
Guatemala City, Guatemala
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CONDO Shanghai
solo show
Shanghai, China
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Uncertain Nature, or how Landscape is Constructed From Guatemala
group show
Guatemala City, Guatemala
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When He Woke Up…
group show
Guatemala City, Guatemala
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Frieze London 2017
solo show
London, UK