ESPEJO QUEMADA – DONNA HUANCA’S EXPERIMENTAL INSTALLATION AT BALLROOM MARFA
The artworks draw on visual, cultural, and mythological cues informed by feminism, decolonialism and the artist’s personal and familial histories, while simultaneously engaging with the biodiversity, geology, and dark skies of Far West Texas. The sky was particularly striking for Huanca–animated with cosmic and extraterrestrial forces while also revealing the natural rhythms of the sun and moon. ESPEJO QUEMADA is curated by Daisy Nam, Ballroom Marfa curator.
ESPEJO QUEMADA, Huanca’s first exhibition since the pandemic, uses mirrors as formal and metaphorical devices to respond to changing conditions. The title, which translates to “burnt mirror” in English and is purposefully feminized in Spanish, alludes to Huanca’s feminist praxis. “Espejo Quemada” suggests reflections of the current moment, portals to the past and future, and catalysts for combustion and change.
The experiences of time, touch and embodiment must all be reconsidered in the shadow of the pandemic, especially as physical contact and proximity to bodies and objects have been restricted. Artworks too are now mostly encountered digitally. By working with an amalgam of color, texture, sound, and scent to enliven the senses, Huanca creates alternative and elongated temporal spaces for contemplation. Through perceptual transformations, we are reminded that the sentient body is a potent source of knowledge and memories.
Viewers experience powerful phenomenological shifts especially through her new work in Ballroom’s courtyard. The artist displays her first outdoor sculpture, which is made of steel and installed atop an adobe bench covered with light-and temperature-sensitive pigment. The work responds to not only the climate in Marfa but also the bodies that sit and engage with the sculpture.
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Donna Huanca, KARITA DE DIOSA, 2021. Oil painting, sand on digital print on canvas. 94 x 79 in (240 x 200 cm). Courtesy the artist and Peres Projects, Berlin. Photographed by Matthias Kolb.
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Donna Huanca, KARITA DE DIOSA, 2021. Oil painting, sand on digital print on canvas. 94 x 79 in (240 x 200 cm). Courtesy the artist and Peres Projects, Berlin. Photographed by Matthias Kolb.
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Donna Huanca, MAGMA PHEOMELANIN LICK, 2021. Oil painting, sand on digital print on canvas. 94 x 79 inches. Courtesy the artist and Peres Projects, Berlin. Photographed by Matthias Kolb.
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Donna Huanca, GUERRERA PROTECTORA (pacha), 2021. Stainless steel, synthetic hair, oil paint, plastic. 79 x 79 x 13 in (200 x 200 x 34 cm). Courtesy the artist and Peres Projects, Berlin. Photographed by Matthias Kolb.
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Donna Huanca, ESPEJO PHEOMELANITA, 2021. Oil painting, sand on digital print on canvas. 94 x 79 in (240 x 200 cm). Courtesy the artist and Peres Projects, Berlin. Photographed by Matthias Kolb.
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Installation view of Donna Huanca,TRANSFORMER: A Rebirth of Wonder, 180 The Strand, 2019. Courtesy Peres Projects, Berlin. Photographer: Hugo Glendinning.
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Donna Huanca, Installation view of Piedra Quemada, Belvedere Museum, 2018.
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From left: Donna Huanca, ESPEJO PHEOMELANITA, COTOPAXI SWEAT, MAGMA PHEOMELANIN LICK, MUSCLE MEMORY (BLUR), and RUAPEHUS SCAR, 2021. Oil painting, sand on digital print on canvas. 94 x 79 inches each. Courtesy of the artist and Peres Projects, Berlin. Photographed by Matthias Kolb.
Donna Huanca (b.1980) was born in Chicago and lives and works in Berlin. Her multimedia work engages with the human body and its visceral connection to space and identity. Huanca’s practice pushes audiences to question their understanding of biology, ecology and history through a decolonial lens.
Huanca has exhibited internationally. Solo exhibitions include: OBSIDIAN LADDER at Marciano Art Foundation (Los Angeles) in 2019; LENGUA LLORONA at Copenhagen Contemporary in 2019; CELL ECHO at the Yuz Museum (Shanghai), and PIEDRA QUEMADA at Belvedere Museum (Vienna) in 2018, and SCAR CYMBALS at Zabludowicz Collection (London) in 2016, amongst others. Huanca was a 2016 Hirshhorn Artist Honoree at the Hirshhorn Museum and Sculpture Garden, and a 2012 Fulbright Scholar in Mexico City. She received a 2009 DAAD Artist Grant, and a 2004 DeGolyer Grant from the Dallas Museum of Art.
Ballroom Marfa is an internationally recognized non-collecting contemporary art museum located in Marfa, a rural town of less than 2,000 people in Far West Texas. Established in 2003 by Virginia Lebermann and Fairfax Dorn, the contemporary art and performance space is housed in a 1920s-era ballroom and is free and open to the public. As an advocate for the freedom of artistic expression, Ballroom Marfa’s mission is to support the work of artists, musicians, and visionary thinkers of all backgrounds. They commission new work, collaborate across disciplines, and produce exhibitions, public artworks, performances, screenings, concerts, symposia, education programs, and publications.
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Organized by the Museo Reina Sofía and curated by Manuel Borja-Villel, the exhibition proposes a scheme where each canvas maintains its own autonomy as a work of art, but also remains in close connection with the rest of the pieces, in a kind of evocative ecosystem of climatic, sensory and emotional experiences. In this sense, Suter's canvases hang, without a frame, in installations that seek an immediate relationship with the architectural and natural space, while inevitably referring to the environment in which they were created.
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Organized by the Museo Reina Sofía and curated by Manuel Borja-Villel, the exhibition proposes a scheme where each canvas maintains its own autonomy as a work of art, but also remains in close connection with the rest of the pieces, in a kind of evocative ecosystem of climatic, sensory and emotional experiences. In this sense, Suter's canvases hang, without a frame, in installations that seek an immediate relationship with the architectural and natural space, while inevitably referring to the environment in which they were created.
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The Y.ES annual grant for Art Writers aims to promote art criticism by supporting coverage of contemporary practice in and about El Salvador. This year, a grant of $500 is awarded to a writer from anywhere in the world to produce an article to be published on Terremoto’s international online platform. Application deadline: July 15, 2021
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Part of the “Normal Exceptions” solo shows programme, La Restauradora (The Restorer) tells the story of Mexico City over 800 years from the geographic perspective of a location at the city’s heart.
Three recent works by Cecilia Bengolea (b. 1979, Buenos Aires) are featured. She is a multidisciplinary artist whose practice merges video, choreography, and sculpture. Following the thread of water and movement flows, this exhibition presents a selection of works where the artist’s reflection on dance, the sensorial interplay between the body’s interiority and its surroundings, as well as the rhythmical relations of social communities and nature, symptomatically manifest through the choreographic language.
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Three recent works by Cecilia Bengolea (b. 1979, Buenos Aires) are featured. She is a multidisciplinary artist whose practice merges video, choreography, and sculpture. Following the thread of water and movement flows, this exhibition presents a selection of works where the artist’s reflection on dance, the sensorial interplay between the body’s interiority and its surroundings, as well as the rhythmical relations of social communities and nature, symptomatically manifest through the choreographic language.
Is a visual manifesto possible? How to show the possible dialogues between art and education? How many images are within each image? How many words are in each word? What's in between? With these questions, the Argentine artist Marina De Caro introduces us to her exhibition Tierra de las emociones perdidas (Land of Lost Emotions), at the Ruth Benzacar gallery in the city of Buenos Aires, which brings together her most recent production.
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Is a visual manifesto possible? How to show the possible dialogues between art and education? How many images are within each image? How many words are in each word? What's in between? With these questions, the Argentine artist Marina De Caro introduces us to her exhibition Tierra de las emociones perdidas (Land of Lost Emotions), at the Ruth Benzacar gallery in the city of Buenos Aires, which brings together her most recent production.
Organized by the Museo Reina Sofía and curated by Manuel Borja-Villel, the exhibition proposes a scheme where each canvas maintains its own autonomy as a work of art, but also remains in close connection with the rest of the pieces, in a kind of evocative ecosystem of climatic, sensory and emotional experiences. In this sense, Suter's canvases hang, without a frame, in installations that seek an immediate relationship with the architectural and natural space, while inevitably referring to the environment in which they were created.
VIVIAN SUTER’S GAME/INSTALLATION IN THE PALACIO DE VELÁZQUEZ
Organized by the Museo Reina Sofía and curated by Manuel Borja-Villel, the exhibition proposes a scheme where each canvas maintains its own autonomy as a work of art, but also remains in close connection with the rest of the pieces, in a kind of evocative ecosystem of climatic, sensory and emotional experiences. In this sense, Suter's canvases hang, without a frame, in installations that seek an immediate relationship with the architectural and natural space, while inevitably referring to the environment in which they were created.
The Y.ES annual grant for Art Writers aims to promote art criticism by supporting coverage of contemporary practice in and about El Salvador. This year, a grant of $500 is awarded to a writer from anywhere in the world to produce an article to be published on Terremoto’s international online platform. Application deadline: July 15, 2021
Y.ES CONTEMPORARY & TERREMOTO - GRANT FOR ART WRITERS
The Y.ES annual grant for Art Writers aims to promote art criticism by supporting coverage of contemporary practice in and about El Salvador. This year, a grant of $500 is awarded to a writer from anywhere in the world to produce an article to be published on Terremoto’s international online platform. Application deadline: July 15, 2021
Part of the “Normal Exceptions” solo shows programme, La Restauradora (The Restorer) tells the story of Mexico City over 800 years from the geographic perspective of a location at the city’s heart.
8 CENTURIES OF MEXICAN COLORS - TANIA CANDIANA AT THE JUMEX MUSEUM
Part of the “Normal Exceptions” solo shows programme, La Restauradora (The Restorer) tells the story of Mexico City over 800 years from the geographic perspective of a location at the city’s heart.
Three recent works by Cecilia Bengolea (b. 1979, Buenos Aires) are featured. She is a multidisciplinary artist whose practice merges video, choreography, and sculpture. Following the thread of water and movement flows, this exhibition presents a selection of works where the artist’s reflection on dance, the sensorial interplay between the body’s interiority and its surroundings, as well as the rhythmical relations of social communities and nature, symptomatically manifest through the choreographic language.
CECILIA BENGOLEA EXHIBITS “ANIMATIONS IN WATER” AT GUGGENHEIM BILBAO
Three recent works by Cecilia Bengolea (b. 1979, Buenos Aires) are featured. She is a multidisciplinary artist whose practice merges video, choreography, and sculpture. Following the thread of water and movement flows, this exhibition presents a selection of works where the artist’s reflection on dance, the sensorial interplay between the body’s interiority and its surroundings, as well as the rhythmical relations of social communities and nature, symptomatically manifest through the choreographic language.
Is a visual manifesto possible? How to show the possible dialogues between art and education? How many images are within each image? How many words are in each word? What's in between? With these questions, the Argentine artist Marina De Caro introduces us to her exhibition Tierra de las emociones perdidas (Land of Lost Emotions), at the Ruth Benzacar gallery in the city of Buenos Aires, which brings together her most recent production.
OTHER POSSIBLE WORLDS
Is a visual manifesto possible? How to show the possible dialogues between art and education? How many images are within each image? How many words are in each word? What's in between? With these questions, the Argentine artist Marina De Caro introduces us to her exhibition Tierra de las emociones perdidas (Land of Lost Emotions), at the Ruth Benzacar gallery in the city of Buenos Aires, which brings together her most recent production.
Organized by the Museo Reina Sofía and curated by Manuel Borja-Villel, the exhibition proposes a scheme where each canvas maintains its own autonomy as a work of art, but also remains in close connection with the rest of the pieces, in a kind of evocative ecosystem of climatic, sensory and emotional experiences. In this sense, Suter's canvases hang, without a frame, in installations that seek an immediate relationship with the architectural and natural space, while inevitably referring to the environment in which they were created.
VIVIAN SUTER’S GAME/INSTALLATION IN THE PALACIO DE VELÁZQUEZ
Organized by the Museo Reina Sofía and curated by Manuel Borja-Villel, the exhibition proposes a scheme where each canvas maintains its own autonomy as a work of art, but also remains in close connection with the rest of the pieces, in a kind of evocative ecosystem of climatic, sensory and emotional experiences. In this sense, Suter's canvases hang, without a frame, in installations that seek an immediate relationship with the architectural and natural space, while inevitably referring to the environment in which they were created.
The Y.ES annual grant for Art Writers aims to promote art criticism by supporting coverage of contemporary practice in and about El Salvador. This year, a grant of $500 is awarded to a writer from anywhere in the world to produce an article to be published on Terremoto’s international online platform. Application deadline: July 15, 2021
Y.ES CONTEMPORARY & TERREMOTO - GRANT FOR ART WRITERS
The Y.ES annual grant for Art Writers aims to promote art criticism by supporting coverage of contemporary practice in and about El Salvador. This year, a grant of $500 is awarded to a writer from anywhere in the world to produce an article to be published on Terremoto’s international online platform. Application deadline: July 15, 2021
Part of the “Normal Exceptions” solo shows programme, La Restauradora (The Restorer) tells the story of Mexico City over 800 years from the geographic perspective of a location at the city’s heart.
8 CENTURIES OF MEXICAN COLORS - TANIA CANDIANA AT THE JUMEX MUSEUM
Part of the “Normal Exceptions” solo shows programme, La Restauradora (The Restorer) tells the story of Mexico City over 800 years from the geographic perspective of a location at the city’s heart.
Three recent works by Cecilia Bengolea (b. 1979, Buenos Aires) are featured. She is a multidisciplinary artist whose practice merges video, choreography, and sculpture. Following the thread of water and movement flows, this exhibition presents a selection of works where the artist’s reflection on dance, the sensorial interplay between the body’s interiority and its surroundings, as well as the rhythmical relations of social communities and nature, symptomatically manifest through the choreographic language.
CECILIA BENGOLEA EXHIBITS “ANIMATIONS IN WATER” AT GUGGENHEIM BILBAO
Three recent works by Cecilia Bengolea (b. 1979, Buenos Aires) are featured. She is a multidisciplinary artist whose practice merges video, choreography, and sculpture. Following the thread of water and movement flows, this exhibition presents a selection of works where the artist’s reflection on dance, the sensorial interplay between the body’s interiority and its surroundings, as well as the rhythmical relations of social communities and nature, symptomatically manifest through the choreographic language.
Is a visual manifesto possible? How to show the possible dialogues between art and education? How many images are within each image? How many words are in each word? What's in between? With these questions, the Argentine artist Marina De Caro introduces us to her exhibition Tierra de las emociones perdidas (Land of Lost Emotions), at the Ruth Benzacar gallery in the city of Buenos Aires, which brings together her most recent production.
OTHER POSSIBLE WORLDS
Is a visual manifesto possible? How to show the possible dialogues between art and education? How many images are within each image? How many words are in each word? What's in between? With these questions, the Argentine artist Marina De Caro introduces us to her exhibition Tierra de las emociones perdidas (Land of Lost Emotions), at the Ruth Benzacar gallery in the city of Buenos Aires, which brings together her most recent production.
