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Carry your Dead (Carguen con sus muertos) - A Performance by Regina Galindo
Evento finalizado
25
oct 2018
17:00

Compártelo en redes

Publicada el 04 dic de 2018      Vista 3 veces

Descripción de la Exposición

The Hemispheric Institute of Performance and Politics at NYU and ANOTHER SPACE are pleased to announce Carry your Dead (Carguen con sus muertos), a performance by Regina José Galindo (b. Guatemala, 1974). Building on Galindo's earlier explorations of necropolitics and biopolitics, this new performance addresses the Trump administration's immigration policies and the United States' long history of interventions in Latin America. ​As Regina José Galindo states: "Provoked by the intervention of the U.S., the war in Guatemala lasted until the end of the 1990s. In 1996, a peace accord was signed, but in Guatemala there has never been any peace. In the 1980s, thousands of Guatemalans migrated to escape the horror of the war. Then came the gangs, the narco-conflicts, and the string of corrupt governments, which have generated a migratory crisis without precedent. In recent years, thousands of unaccompanied children and adolescents have crossed multiple borders in order to reach the US. Thousands more have arrived with their parents and have been cruelly separated at the border, held in prisons and detention centers across the country. U.S. policies have produced too much pain for millions of individuals around the world. There have been too many deaths." With this new work, Galindo’s first street performance in the United States, the artist aims to directly confront viewers with the underside of America’s foreign and migratory policies. ​Carry your Dead (Carguen con sus muertos) was commissioned by ANOTHER SPACE and the Hemispheric Institute of Performance and Politics at NYU in conjunction with the exhibition The Second Sex. On view through October 30, 2018 at ANOTHER SPACE, the exhibition examines the work of Latin American women artists from the Estrellita B. Brodsky Collection and includes a number of historic performances by Ana Mendieta, Lotty Rosenfeld, and Regina José Galindo that explore notions of memory and the relationship between the body, landscape, and politics. ​Regina José Galindo ​Regina José Galindo was born in 1974 in Guatemala City, where she currently lives and works. Her performance work explores the ethical implications of social injustice, discrimination related to race, gender, and other abuses that result from the unequal power relations that operate in our society. She has been the subject of solo exhibitions at a number of international institutions, including Frankfurter Kunstverein, Frankfurt; PAC Padiglione d’Arte Contemporanea, Milan; MOLAA Museum of Latin American Art, Long Beach, CA and ARTIUM, Vitoria, Spain. She participated in Documenta 14 in Athens and Kassel in 2017, the Venice Biennale in 2001, 2005, 2009 and 2011, the Sharjah Biennial in 2011 and the Sydney Biennial in 2010. Her works are included in the permanent collections of the Museum of Modern Art, New York; the Centre Pompidou, Paris; Tate Modern, London; the Solomon R. Guggenheim Museum, New York; Castello di Rivoli, Turin; Cisneros Fontanals Collection, Madrid; Daros Collection, Zurich; and the Museum of Contemporary Art, San José, Costa Rica; among others. Galindo has been the recipient of multiple awards and prizes, including the Golden Lion for the best artist under 35 at the Venice Biennale in 2005 and the Prince Claus Award in 2011. http://www.reginajosegalindo.com/ About Hemispheric Institute of Performance and Politics ​The Hemispheric Institute connects artists, scholars, and activists from across the Americas and creates new avenues for collaboration and action. Focusing on social justice, we research politically engaged performance and amplify it through gatherings, courses, publications, and archives. Our dynamic multilingual network traverses disciplines and borders and is grounded in the fundamental belief that artistic practice and critical reflection can spark lasting cultural change.

Actualizado

el 04 dic de 2018 por ARTEINFORMADO

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