Utopia de una Transformación
Humanism, Human Rights and Gender Violence
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Guadalupe Aldrete ° Paula Flores ° Bojana Fuzinato-Stamenkovic ° Vera Klimentyeva ° Isidora Krstic ° Jelena Micic ° Adriana Perego ° Antonella Oliana ° Alejandra Saavedra ° Aurora Lechuga ° Blanca Villeda ° Claudia Pérez Pavón ° Estella Levi ° Fabiola Faidiga ° Fiorella Macor ° Jacky Muniello ° Jacqueline Grandia ° Lily Dabdoub ° Maribel Portela ° Marieta Bracho ° Olga Micol ° Patricia Soriano ° Sandra G Hordoñez ° Tulia Berdejo ° Olga Danelone °
ARTISTS – Permanent Video Screening
ConteNidos Aurora lechuga ° Adriana Calatayud Retra animal- Retra Humanao ° Claudia Esqueda Historia sin fin ° Jacky Campbell Femicide and the day after ° Katia Tirado El mandil de mi mama ° Laura Rios Geografias ° Lucila Flores Cucul la praline ° Olga Danelone Hidrogen ° Priscilla Aguierre Solas:Voces en el encierro ° Sandra G Hordoñez Mexico feminicida ° Selma Guisande Polvo Rojo ° Beatriz Canfield Encuentros y desencuentros ° Katia Tirado El mandil de mi mamá (melodrama y rebelión) ° Xóchitl Rivera El periódico que dice lo que otros °Tulia Berdejo Ishel
Project by Luciana Esqueda – 2020-Transformation Text by Luciana
Co-Curator Denise Parizek
Research Text pdf for dwonload
Picture of the Exhibition
Copyright by Mute Insurgent 2020
LEONORAS WINDOW – Guadalupe Aldrete
video-still aus “Leonora’s Window” ()
“Cama flotante” (7709b), “Lluvia” (7714B)
During a period of 10 days Guadalupe and Leonora lived in a little house in the middle of the fields nearby Kaunas, Lithuania. There, Guadalupe documented her interaction with the space around and the effect of it on her. Ten weathers, ten paintings.
FLIES FOR DINNER – PAULA FLORES
Mixed media (acrylic paint, gold leaf, oil pastels, paper, marker over wood board. Bamboo and metal wire)
Size Painting 34 x 79.5 cm
Bamboos 150 cm
The connecting points where we all meet each other. Where we all revolve around, changing from center to center, but we always keep the connections. In the end we are all keystone species, it just depends on the perspective at the given moment.
Let’s all have a big party, where we all accept our existence as prey and predator; or maybe we shouldn’t accept these concepts that don’t allow much room for all that happens in the middle between these two?
A moment where we all eat together, digest and are being digested while we talk about this dilemma that people have made for all of us. Let’s do it in an honorable way, in a way that everyone is included. Most of us humans have been told what we are, who we are. We have been stripped or pulled far away from trusting our instincts. Humans are this, the others are that. Limiting the development of new abilities. Making us focus on the differences, creating yet another category, another concept, SPECIESISM. Where we are the ultimate rulers, we decide for a lot of them, of the others. In some cases directly and in some cases indirectly. We don’t mind so much, sometimes we say sorry. I am looking for these boundaries in my mind, in my way of being. I want to challenge them, to stretch them, to erase them. I don’t want to have the limits that a human is supposed to have with other entities. I am made up from all of them, I see parts of myself in the otherness. I am many others, all the others.
NO ONES HOME – VERA KLIMENTYEVA
Klimentyeva’s current series of abstract Orthodox icons “No ones home” (2020) focuses on a critical view of the Russian Orthodox Church. The series is based on icon boards, originally intended for sacred painting. But instead of figurative depictions of saints, the gold ground remains empty, only isolated halos or other sacral motifs become visible. As is so often the case in Klimentyeva’s oeuvre, the critical reference to the Orthodox Church with its often outmoded worldviews and views becomes clear.
Klimentyevas aktuelle Serie von abstrakten orthodoxen Ikonen „No ones home“ (2020) fokussiert sich auf eine kritischen Sicht auf die russisch orthodoxen Kirche. Als Grundlage der Serie dienen Ikonenbretter, ursprünglich für sakrale Malerei bestimmt. Doch anstatt von figurativen Darstellungen von Heiligen bleibt der Goldgrund leer, lediglich vereinzelte Heiligenscheine oder andere sakrale Motive werden sichtbar. Wie so häufig in Klimentyevas Oeuvre wird auch hier wieder die kritische Referenz auf die orthodoxe Kirche mit ihren oftmals unzeitgemäßen Weltanschauungen und Auffassungen deutlich.
Jan Gustav Fiedler, 2020
NOTES ON TRAUMA – ISIDORA KRSTIC
NOTES ON TRAUMA
Sound, Pieter Gabriel
In 2014, the fifteenth anniversary of the Nato bombing of Yugoslavia made me want to revisit my memories of the event which I had experienced as a twelve year old child in Belgrade. In 1999, throughout the period of about three months, the city as well as other towns and locations in the country were extensively bombed. I tried to reckon with my memories or any emotions related to the bombing, which I found were quite numbed in relation to the objective horror of the event itself. I went on to search for any visual footage of the bombing which would be available online, to see what kind of reactions these would illicit.
What I found were videos of the targeted locations, seen from cameras mounted on the missiles themselves: still aerial view – firing – racing through space – darkness. The almost casual aspect of the filmed footage evoked feelings of terror, which were actually felt for the first time. Only later, in 2018, I decided to put all this footage together into a work. It is presented unedited, except for the colour, without any comment or exaggeration. The work can be seen as a documentation of this self-reckoning with the experience of trauma, seen through the perspective of the perpetrator, with an emphasis on the temporal delay of an appropriate emotional response.
ВАВООЉАВЉВ – JELENA MICIC
Neon Sculpture / Murano Glass / 2020
ВАВООЉАВЉВ is an appropriation of the participants’ correspondence and exchange of opinions on (reshaped) graffiti. The communication is crossed out in a way that ensures that passers-by are still able to read the initial message (Serbian: православље, English: orthodoxy).
THE OTHER – GABRIEL VIRGILIO LUCIANI
The other. The other is a projection. A distorted version of a body, a face, an object. The other doesn’t exist. The other is a narrative generated by fear, by the discomfort with the unknown and the mystic. The violence wielded against the othered body has an ancient ring to it. Unbeknownst to many of us, we subjects of the Sensual World are all bound by affect and fragility as we tumble cyclicly around the gelatinous trefoil knot of potentiality.
Through a poetical and empirical approach to theory and process philosophy, I will weave together an analysis of violence and, more specifically, the act of subjectual reduction against queer bodies, to then echo off of these, generating a universal narrative of brutality and discrimination.
The sphere of research carried out by curator Gabriel Virgilio Luciani finds itself at a gaseous intersection between neo-corporealities, poetry, queer theory, magic and objectual affect. Understanding the subject —all forms of life, liquids, gasses, solids— as an indefinite and mutating vessel of affect and potentiality is at the axis around which these inquiries orbit. This basis is realised by poetically scanning the emotive substrate of our world, seeking new poly-relational cartographies between that which we binarily consider inanimate and animate, extinct and extant, active and passive. These spheres of research have been explored through formal exhibitions, various writings and poetic interventions over the last 5 years while pursuing his Bachelor’s Degree in Arts and Design at l’Escola Massana and after he graduated. From 2016 to 2019, the majority of his practice was realised as curator of the distinguished artist-run space, La Cera 13, founded by young artists who moulded a highly experimental and radical laboratory of reference in El Raval neighbourhood in Barcelona. He is currently pursuing a Master’s Degree in Digital Arts Curation at the Universitat Ramon Llull in Barcelona while working for the director of the gallery Dilalica, assisting him with future projects, as well as participating as a curatorial resident along with Margot Cuevas at Tangent Projects in L’Hospitalet de Llobregat.
“IT´S EASY TO BE …” – BOJANA FUZINATO-STAMENKOVIC
-Visual reflection on public and private, in the hilly and rural parts of the Balkans
“It’s easy to be a man, and being a woman is hard,” is the sentence pronounced by Hajdar, one of the oldest Virgin in Northern Albania, in the documentary “Last Balkan Virgin” produced by Vice Serbia.
The term “Virdžina”(Virgin) appears in my life at the end of the last century, getting to know the film of the director Srdjan Karanovic, filmed in 1991 in Yugoslavia. The story describes Stevan, a young heir of a family who is lured by the fact that there are too many female children. Stevan’s own family condemns him to live as a boy, although he was born as a girl. His family is actually followed by the custom of “swearing virgins” (“virgin” or “tobelia”) to avoid condemnation of society because it has exclusively female offspring. There are various reasons for becoming Virginia, and the Stevan case from the mentioned film is just one of them. It can also be from purely personal incentives, in the case when young girls do not have the identity of the sex and the gender with which they were born. Also, there are cases where, from the grief for a lost partner, women remain consecrated Virgin, while there may also be escape from contracted and unwanted marriage. In this act, they commit themselves to eternal virginity, which separates them from the category of the woman, does not lead them into the category of a man, but certainly creates the possibility of permanent exclusion from the obligation to be a woman. The status of a Virginia woman is certainly gaining freedom of movement in a public domain, not a private, hidden area of women’s life. In all these cases, I analyze the patriarchal situation in the mountainous rural areas of the Balkans: Northern Albania, Kosovo and Montenegro, for which Virdžina’s phenomenology is linked. Written documents testify that the existence of a phenomenon has been recorded since 1860, and in a documentary film recently captured from the production of Vice, we note that there are still, of course, in a much smaller number than before, but that they are certainly the oldest third generation of Europeans.
The visual vocabulary I transpose with this phenomenon in visual speech serves elements that symbolically depict the private and public domain in the life of a woman / man / Virgin. It is based on the motifs of the mountain parts of the Balkans, as a symbol of the public and free movement of one person. As a reflection on the way of life in remote places and the patriarchate that is still present in them. I choose this motif for media that are traditionally related to women’s handicrafts and the private sphere of her life: embroidery, sewing, batik painting textiles, decorative painting of fabrics, needles and kitchen cloths. Thus, these two areas intertwine, blur and postulate the gender and gender positions, which in the case of Virginia are socially constructed. (In this text I am using the information found in the scientific works Suzana Milevski, Predrag Šarčević and Marko Kokotec, Virdžina films Srđan Karanović and “The Last Balkan Virginia” Vice Serbia)
MUJER MONTAñA – Claudia Pérez Pavón
STOP – Luciana Esqueda
FINALMENTE SOLE – Fabiola Faidiga
MUJERES DE LA FRONTERA – Jacky Muniello
SOMOS CUERPOS – Maribel Portela
PIROPO LAND – Lily Dabdoub
LAVA LE PELLI DELLE CAPRE E PECORE IN MONTAGNA CON l´AQUA FREDDA TUTTA BAGNAT – Olga Micol
OMAGGIO A GRETA – Adriana Perego
VIOLENCE – Jacqueline Grandia
MUTATIONE NECESSARIA – Antonella Oliana
PAY ATTENTION – Olga Danelone
VIOLENZA SULLE DONNE – Estella Levi
MUJERES VIVENDO EN LA CALLE – Sandra G Hordoñez
STORMBRINGE – Fiorella Macor