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Cheril Linett

Yeguada Latinoamericana, 2020

Cheril-Linett_YeguadaLatinoamericana_web
Cheril Linett, 2020

Impresión digital en PVC / Digital Print on PVC / Digitaldruck auf PVC

200 cm × 300 cm

YEGUADA LATINOAMERICANA is a performance project created and directed by artist Cheril Linett, who invites women and sexual dissidents to take action. They arrange their bodies in streets, institutional locations and national holidays to ironize and challenge classist, patriarchal, colonial and speciesist regimes. Developed by a stable performance and direct action group, the project exploits two aesthetic strands: trans-species and funereal. Both take place in the public space and exploit the procedures of the forces of law and order in order to compose in present time images and situations activated by the Yeguada (the Cavalry).

Cheril Linett. Santiago de Chile, 1988

Performance artist and theatre scholar. Author of the performance project Yeguada Latinoamericana. She has a degree in theatre and the specialisation in performance art from the Universidad Academia de Humanismo Cristiano in Santiago de Chile. She began her artistic career in 2015 by participating in meetings, festivals and, above all, independent performances in public spaces. To date, she has realised and staged numerous works, which are grouped in performance series such as Coreografía de succión, Poética de las Aguas, Vertiente Fúnebre and Casa. She is currently a scholarship holder of the stage direction programme FITAM – Goethe-Institut Chile in Santiago de Chile.

Sin título, 2003

© Gustavo Artigas, 2003

 Site-specific intervention

Panama City History Museum

Video, 02‘44‘‘

“Untitled” was carried out by Mexican artist Gustavo Artigas in collaboration with the fire department of the Panamanian capital. The work consisted of filling the Municipal Palace with smoke; the palace houses a little-known Museum of History whose collection includes the country’s Act of Independence. The reactions of passers-by range from total indifference to sobs and screams. In this way, they respond on the basis of their cultural memory to an event that has recurred at multiple times and places in Latin America as well as in the history of Panama City, founded in 1519 and for centuries one of the main ports for Europe and the Americas.

Gustavo Artigas. Ciudad de Mexico, Mexico, 1970

Over the last 25 years, Artigas has experimented with different media and visual art modalities such as Sound Art, Site Specific Installations, Performance Art, Relational works, educational platforms, light pieces and painting. Some of the most recognizable Some of the most recognizable works by Artigas relate ludic structures to disaster situations. His work dialogues with a with a wide variety of issues, from the political to the social identities and became part of the booming group of contemporary Mexican artists that emerged in the 90´s and made an important impact in the international art scene. As part of his practice he conducts specialized creativity workshops in countries like Canada, Argentina, Panama, France, Spain, Finland and Mexico. From 2010 to 2018 he was Professor for Contemporary Art at Escuela Nacional de Pintura Escultura y Grabado La Esmeralda en la Ciudad de México. Since 2018 he co-directs with art mediator and pedagogical curator Muna Cann, the Contemporary Art initiative Art Links Inc. based in Canada. Some collaborations include MOCA Museum of Contemporary Art Toronto, TheSite Magazine and YYZ Artist Outlet.

Combat, 2018

Performance documentation

6 Photographs

30 cm × 40 cm

Wearing a white jumpsuit, the artist spent eight days at the Southern Command Military Museum (MCCC), Porto Alegre, Brazil, using her body to confront tanks, combat cars and cannons from the collection of the armed forces, establishing disruptive connections to these symbols of masculinity. Inspired by the intersectional feminist concept of sorority, a counterpoint experiment was proposed with the collaboration of eight women who brought daily survival kits for the artist. Each day a poetical-political collection was formed, with basic provisions such as warm clothing and food. The number eight is related to global feminist movements such as 8M, Women’s March, me too, Niunamenos, 8A, #ELENÃO [BUT NOT HIM], among other movements of political struggle for socially subalternised minorities.

Andressa Cantergiani. Caxias do Sul, Brazil, 1980

Visual artist and performer, mother and activist. Lives between Berlin, DE and Porto Alegre, BR. PhD student in Visual Arts at PPGAV-UFRGS and research fellowship at University of Applied Sciences and Arts – Hoschulle Hannover – Germany. MA in Communication and Semiotics at PUC/SP. Graduate in Performing Arts at DAD/UFRGS. Artist represented by Mamute Gallery, Porto Alegre-Brazil. Director of the BRONZE Residence and the Peninsula Gallery in Porto Alegre. She has carried out residencies, projects and exhibitions in various spaces around the world such as Fundação Iberê Camargo, Brazil, Museum of Contemporary Art, MAC, Porto Alegre; Museum of Contemporary Art Bispo do Rosário, Rio de Janeiro, BR; Terra Una Residency, Minas Gerais, BR; Insurgencias, Berlin/DE, Despina/RJ. Her works are in private and public collections such as the Museum of Art of Rio Grande do Sul, Porto Alegre.

Eye for an Eye, 2020

Photo Benjamin Renten

Iron, cement, paper, LED light

Variable Dimensions

This artwork is a meditation on social justice. In the recent wave of protests in Chile, in 2019, more than 400 people lost one or both eyes, which was caused by rubber bullets deliberately shot by the police. One of these blinded protesters said in an interview: “What we’ve lost and what we’ve given wasn’t for nothing.” Rocha Pitta’s sculpture is a gigantic, collective eye that aims to stand in the place of this lost eye. An eye for an eye. To what extent are our notions of justice dependent on visibility? Why should justice be blinded to remain just?

Matheus Rocha Pitta. Tiradentes, Brazil, 1980

Lives and works in Berlin and Rio de Janeiro. Studied history and philosophy at the Universidade Federal Fluminense, Niterói, and the University of the State of Rio de Janeiro in Rio de Janeiro. His work has been presented internationally in solo and group exhibitions, including at  Kunstverein Hamburg, Germany, 2020; Museu de Arte Moderna in Rio de Janeiro, 2018, Triennial Frestas, São Paulo, Brasil, 2017; El Ranchito, Matadero Madrid, España 2014; The Great Acceleration, 9 Bienal de Taipei, Taipei, Taiwan 2014; Artesur, Collective Fictions, Nouvelles Vagues, Palais de Tokyo, París, Francia, 2013 y Kunst Im Tunnel, Düsseldorf, Alemania, 2013. He was grantee at Künstlerhaus Bethanien, Berlin (2016-17). He is represented in the collections of the Castelo de Rivoli, Turin, and the Museu de Arte Moderna in Bahia, Rio de Janeiro and São Paulo, among others.

Elevation, 2019

Animation

4 Channel-Color & Sound

00:10’12”

“Elevation” (2019) is a collaborative project with a group of artists at Bogotá’s Museum of Modern Art (MAMBO) to work around the myth of origin of the Revolutionary Armed Forces of Colombia (FARC). The participants in this process are based on the narrative strategies of a comic book of the movement named “Marquetalia, Raíces de la Resistencia” (Marquetalia, Roots of Resistance). The comic book narrates in a simple way and through key characters how a group of militant communists and liberals are expelled from public life during the historical process understood as “The Violence” (1948 – 1958). Their exodus is caused by the homicide of Jorge Eliecer Gaitán, socialist candidate to the presidency, as well as the resulting social uprisings of the “Bogotazo” in 1948. In 1954, during the dictatorship of General Gustavo Rojas Pinilla (1953-1957), the Colombian Constitution prohibited the military or collaboration with international communism. Mobilized communists and liberals went into self-exile in the town of Marquetalia, in the Department of Tolima, a mountainous area of central Colombia. These would be among the first historical antecedents of the movement later known as the Revolutionary Armed Forces of Colombia – People’s Army (FARC-EP), relevant actors in the armed conflict that lasted until 2016. Currently, there is a peace agreement and the once FARC-EP is a legal political party: “COMUNES”.

“Elevation” is a role-playing game and an experience in 3D animation, a contact zone to renegotiate and reformulate the affective, social and cultural memories of a society after the trauma. The artist creates a world of own rules, the participants of the process construct avatars with supernatural powers and re-stage events, formulating outcomes and other possible present and future scenarios. The artwork also promotes exchange between key influencers and subcultures of the Net at a technological, cultural and communicational level to generate an experience of reconciliation and social re-imagination.

Ana Maria Millán. Cali, Colombia, 1975.

Lives and works in Berlin

Complete bio at

http://anamariamillan.info/

Edicto Cambio De Nombre, 2018

Performance object

Granite plate

 In 2018, Marilyn Elany Boror requested to change her name to Marilyn Elany Castillo Novella, replacing her indigenous surname with the name of two of Guatemala’s wealthiest families. This act resulted from her research on the social practice of name change in her country: people with indigenous surnames often change them when they move to big cities, especially the capital, to escape discrimination and racism. Boror’s name change went viral and was the subject of controversy on social networks. The granite slab, engraved with his name change and placed on the floor, is like a tombstone or commemorative plaque that keeps the memory of his indigenous surname alive in a space of mourning. [Adapted from “This might be a place for hummingbirds”: Galerie im Körnerpark, Berlin, 16.11.19-05.02.20.] 

* On 15 May, the collective VOCES de Guatemala en Berlín will carry this piece in procession between the nGbK and a collective cemetery and vegetable garden, cultivated by VOCES de Guatemala en Berlin in Neukölln, Berlin.

Marilyn Boror Bor. Guatemala, 1984

Lives and works in Guatemala. Maya-Kaqchikel artist from San Juan Sacatepequez Guatemala, works in multiple media including photography, painting, printmaking, installation and performance. Her work has been presented in spaces such as Galerie im körnerpark Berlin Germany; Whitebox Munich, Germany; Sur Gallery, Toronto Canada; Galeria Muy, Mexico, Museo Nacional de Arte Moderno Carlos Mérida de Guatemala; Museo Ixchel, Guatemala; Museum of Contemporary Art Santa Barbara, California; Instituto de las Artes de la Imagen y el Espacio Venezuela; Centro Cultural de España de Guatemala, El Salvador, Honduras, Nicaragua and Costa Rica, Centro Cultural Municipal AAI, Guatemala; Museo de Arte Contemporáneo, El Salvador; Museo de Arqueología y Etnología de Guatemala; The 9. 99 Gallery Guatemala; Nuevo Museo de Arte Contemporáneo NUMU, Guatemala among others.

Winner of the Yaxs Artistic Research Grant 2017-2018; artist selected to participate in the XIX, XX and XXII Biennial of Art Paiz -Trans/visible-, -Ordinario-Extraordinario- and -Perdidos.En Medio.Juntos-, Guatemala 2014 and 2016 and 2021; the Biennial of the South “Pueblos en Resistencia” Caracas, Venezuela and the International Festival of the Arts FIA, Costa Rica.