ACHA-KUTSCHER AND THE WOMEN’S IMAGINARIES AT ADN
The photographs of Womankind project by María María Acha-Kutscher (Lima, Peru, 1968) are the protagonists of the exhibition that the Barcelona-based ADN dedicates to one of the leading artists in feminist postulates. The series from which the bulk of the exhibition draws is based on the technique of digital photographic collage, and makes use of images already made and archives as well as snapshots taken by the artist herself. Like a large part of her production, her proposal is based on revising, with greater or lesser success, the apparently heterogeneous imaginary of the social conventions created and related to the feminine and femininity.
Womankind aims to connect with this revision, and even to point out its constant recycling and circulation without seeming to mutate the sense of conventionality. Nor should we overlook the fundamental fact that the moment in which this series takes place, still current, is sandwiched between the effervescent phenomena of the theories of the fourth feminist wave and the consolidation of digital worlds and forms of communication, a mirror of the imaginary and of the increasingly unified actions of thought and annulment.
Acha-Kutscher appears to be influenced by these two circumstances that end up converting her proposal into a vehicle beyond the merely aesthetic to propitiate the necessary questions in the analysis of the construction of cultural identity or the social, redrawing the hackneyed clichés and all that imaginary that seems to have been consolidated without apparent obstacles.
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María María Acha-Kutscher. La Rabbia di Proserpina, 2022. Digital print on Hahnemühle paper Photo Rag Baryta 315 gr, mounted on KapaFix 10 mm, and framed in black wood. 12 parts: 37 x 30 cm. each; installation: 129 x 117 cm.
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María María Acha-Kutscher. La Rabbia di Proserpina, 2022. Digital print on Hahnemühle paper Photo Rag Baryta 315 gr, mounted on KapaFix 10 mm, and framed in black wood. 12 parts: 37 x 30 cm. each; installation: 129 x 117 cm.
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María María Acha-Kutscher. Todas mis Sangres. Bettina, 2023. Photocollage printed on Hahnemühle Photo Rag Baryta 315 g, mounted on KapaFix 10 mm and framed in wood strip. 73 x 97 cm. Edition of 3 plus 1 artist's proof.
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María María Acha-Kutscher. Todas mis Sangres. Irmgard, 2023. Photocollage printed on Hahnemühle Photo Rag Baryta 315 g, mounted on KapaFix 10 mm. 73 x 63,5 cm. Edition of 3 plus 1 artist's proof.
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María María Acha-Kutscher. Todas mis Sangres. Julia, 2023. Photocollage printed on Hahnemühle Photo Rag Baryta 315 g, mounted on KapaFix 10 mm. 73 x 56 cm. Edition of 3 plus 1 artist's proof
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María María Acha-Kutscher. I remember the nights when I used to sleep, 2023. Photocollage printed on Hahnemühle Photo Rag paper 308 g, mounted on Museum cardboard. 30 parts: 13 x 16 cm. each. Edition of 3 + 1AP.
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María María Acha-Kutscher. Todas mis Sangres. María María, 2023. Photocollage printed on Hahnemühle Photo Rag Baryta 315 g, mounted on KapaFix 10 mm. 73 x 56 cm. Edition of 3 plus 1 artist's proof
In addition to the significant part Womankind that forms the backbone of the exhibition, the show also exhibits his latest series in colour in which he deals with female ageing and La Rabbia di Proserpina, a specific piece that re-emphasises, from a gender perspective, the systemic acceptance of violence against women within the History of Art and of empowerment as an instrument to be consolidated in the feminist imaginary.
Womankind can be seen until 25 January 2025 at ADN, Mallorca, 205, Barcelona (Spain).
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The result of the selection proposed to represent Circuitos de Artes Plásticas 2024, one of the main emerging art projects of the Community of Madrid, has had in this edition a Latin American protagonist in the curatorial work of Isabella Lenzi (São Paulo, Brazil, 1986). The show, named Caja de resonancia (Resonance Box) for the occasion, reviews, through the ten winning works of this annual call, some of the recurring themes and matrixes in the under-35 generation of artists linked to Madrid.
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Goya's Los Disparates preceded, or marked, painting's entry into modernity. Beyond this historiographical note, the series by the Aragonese master captures with masterful imagery the vicissitudes of irony, sarcasm and the darkness of a reality that has lasted through time to the present day. The plates of his etchings become the surface that deposits this reality, and the result, once impregnated, works as a full reminder of the origin of our essence, our fears and our actions.
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The result of the selection proposed to represent Circuitos de Artes Plásticas 2024, one of the main emerging art projects of the Community of Madrid, has had in this edition a Latin American protagonist in the curatorial work of Isabella Lenzi (São Paulo, Brazil, 1986). The show, named Caja de resonancia (Resonance Box) for the occasion, reviews, through the ten winning works of this annual call, some of the recurring themes and matrixes in the under-35 generation of artists linked to Madrid.
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