“GRACIELA ITURBIDE: HELIOTROPO 37” AT FONDATION CARTIER POUR L’ART CONTEMPORAIN
The Cartier Foundation presents "Heliotropo 37", the first major exhibition in France dedicated to the work of Mexican photographer Graciela Iturbide. It brings together more than 200 images from the 1970s to today. Photographs from the most iconic to the most recent, as well as a color series specially produced for the exhibition. If today she is famous for her portraits of the Indians of the Sonoran Desert, the women of Juchitán, or for her photographic essays on the ancestral communities and traditions of Mexico, Graciela Iturbide also draws an almost spiritual focus to landscapes and objects. Showing for the first time these two facets, these two points of view of the artist's work, the exhibition thus offers a renewed vision and reveals her great contribution to photographic art.
For more than 50 years, Graciela Iturbide has been creating images that oscillate between a documentary approach and a poetic gaze. He started in photography in the 1970s together with Manuel Álvarez Bravo (1902-2002), whom he follows on his travels in the towns and popular Mexican festivals where he sees him looking for the right place, waiting for something to happen and then photographing, almost invisible, without disturbing, what interests you. Álvarez Bravo thus becomes the mentor of the young photographer and shares with her her sensitivity and her humanistic approach to the world.
The exhibition presents on the ground floor a large number of photographs of people she met or objects that surprised and moved her during her various pilgrimages to Mexico and expeditions around the world. Large black and white photos that immerse the visitor in an imaginary journey: jackets suspended in the air, electrical cables that trace geometric patterns or a school of fish whose direction is unknown. Among the emblematic series of this period are "Those who live in the sand" (1978) for which Graciela Iturbide spent a lot of time within the Seri community in the Sonoran desert; "Juchitán de las mujeres" (1979-1989), a study dedicated to women and the Zapotec culture, in the valley of Oaxaca, or the series "White Fence Gang" (1986-1989) carried out with the cholos, Mexican gangs in Los Angeles and Tijuana.
In addition to the photographs that made her famous, the exhibition reveals her recent photographic work. Through the years, her images become emptied of all human presence and her attention is directed to materials and textures, revealing the metaphysical link that unites the artist with objects, nature and animals. “Naturata”, produced between 1996 and 2004 in the Oaxaca botanical garden, begins this progressive disappearance: plants and cacti, supported by ropes, wrapped in burlap sacks, vanish under veils and nets. At the initiative of the Cartier Foundation, Graciela Iturbide moves to Tecali, a town near Puebla where alabaster and onyx are extracted and cut. A rare occurrence in her career, she abandons black and white to photograph pink or white stones in color; alabaster blocks on which writings or engravings are sometimes visible, standing out against the sky like totem poles.
“Heliotropo 37” borrows its title from the street where Graciela Iturbide's studio is located, in the Coyoacán district of Mexico City; designed by her son, the architect Mauricio Rocha who also designed the installation set for the exhibition. He transformed the Cartier Foundation into a modern temple, with high whitewashed walls crossed by vertical slits that let in the light from the garden. A scenario that resonates with the meditative photos that Graciela Iturbide has taken around the world, finding poetry in the simple things of everyday life, without ever falling into heavy symbolism or esotericism. Spectacular, radical but not exempt from measure, his proposal plays with the materiality of the elements used. As a temple heir to modernism and Mexican architectural tradition, this scenery thus creates an environment conducive to contemplation.
Throughout the 20th century, the photographic medium has immortalized the modern city in endless visual narratives that start from the street as a social stage, a political battlefield or a playground. For nearly half a century, black-and-white images of her have documented life in her native country. Through her humanistic and poetic gaze, Graciela Iturbide summons the mystery in everyday life where her image intersects with the social and political history of the city, with its euphoria, loneliness, revolts and struggles.
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The Miguel Urrutia Art Museum of the Banco de la República presents the exhibition Veroír el fracaso iluminado (Seehearing the Enlightened Failure), a retrospective that brings together more than 100 works by the Chilean artist Cecilia Vicuña, whose work addresses issues such as the environment, feminism, human rights humans, decolonization and the relationship between art and politics. The exhibition, curated by Miguel López, one of the most outstanding curators on the current Latin American art scene, arrives in Colombia thanks to the collaboration between the Kunstinstituut Melly (Rotterdam) and the Banco de la República.
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Stockholm syndrome occurs when a victim establishes an emotional bond with their captors. With motherhood many women feel like this: their life is no longer theirs and escaping is impossible. However, the kidnappers are not the daughters or the sons. The perpetrator is the patriarchal system that, under the story of love, hides the tasks that sustain life while exploiting them. The works exhibited here reveal motherhood as a disputed concept. On one side is the violence of labor and legal demands; on the other, the struggles that intertwine like a tide around the need for reproductive rights and care strategies that escape capitalist accumulation. This is an example of the enormous political power of motherhood.
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CECILIA VICUÑA. SEEHEARING THE ENLIGHTENED FAILURE
The Miguel Urrutia Art Museum of the Banco de la República presents the exhibition Veroír el fracaso iluminado (Seehearing the Enlightened Failure), a retrospective that brings together more than 100 works by the Chilean artist Cecilia Vicuña, whose work addresses issues such as the environment, feminism, human rights humans, decolonization and the relationship between art and politics. The exhibition, curated by Miguel López, one of the most outstanding curators on the current Latin American art scene, arrives in Colombia thanks to the collaboration between the Kunstinstituut Melly (Rotterdam) and the Banco de la República.
Stockholm syndrome occurs when a victim establishes an emotional bond with their captors. With motherhood many women feel like this: their life is no longer theirs and escaping is impossible. However, the kidnappers are not the daughters or the sons. The perpetrator is the patriarchal system that, under the story of love, hides the tasks that sustain life while exploiting them. The works exhibited here reveal motherhood as a disputed concept. On one side is the violence of labor and legal demands; on the other, the struggles that intertwine like a tide around the need for reproductive rights and care strategies that escape capitalist accumulation. This is an example of the enormous political power of motherhood.
MUAC EXHIBITS “MOTHERING. BETWEEN STOCKHOLM SYNDROME AND ACTS OF PRODUCTION”
Stockholm syndrome occurs when a victim establishes an emotional bond with their captors. With motherhood many women feel like this: their life is no longer theirs and escaping is impossible. However, the kidnappers are not the daughters or the sons. The perpetrator is the patriarchal system that, under the story of love, hides the tasks that sustain life while exploiting them. The works exhibited here reveal motherhood as a disputed concept. On one side is the violence of labor and legal demands; on the other, the struggles that intertwine like a tide around the need for reproductive rights and care strategies that escape capitalist accumulation. This is an example of the enormous political power of motherhood.
The Centre Pompidou hosts for the first time the sculptures, collages, artist's books, drawings and assemblages by the artist León Ferrari (1920-2013), considered one of the most influential in Latin America.
THE INSEPARABILITY OF ART AND POLITICAL ACTION – LEÓN FERRARI AT THE POMPIDOU
The Centre Pompidou hosts for the first time the sculptures, collages, artist's books, drawings and assemblages by the artist León Ferrari (1920-2013), considered one of the most influential in Latin America.
In his first exhibition since 2019, the photographer returns to deep Buenos Aires in search of reflections of our present through a documentary and poetic reading of the past.
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Ronald Morán's individual exhibition, Por encima del Jardín (Above the Garden) (2021-2022), with which public activities were reinstated at the Marte Museum in San Salvador, has become a paradigmatic exhibition, not only as a new consecration of one of the Central American artists of greater international recognition, but as a sign of the vision of an institution that is committed to experimentation and accompaniment in the practices that link contemporary art and social imagination.
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Ronald Morán's individual exhibition, Por encima del Jardín (Above the Garden) (2021-2022), with which public activities were reinstated at the Marte Museum in San Salvador, has become a paradigmatic exhibition, not only as a new consecration of one of the Central American artists of greater international recognition, but as a sign of the vision of an institution that is committed to experimentation and accompaniment in the practices that link contemporary art and social imagination.
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On Saturday, September 12th, in Conversations with artists, photographer Graciela Iturbide and cultural journalist María Paula Zacharías will talk about the characteristics of Iturbide’s oeuvre and her career as an artist.
The Miguel Urrutia Art Museum of the Banco de la República presents the exhibition Veroír el fracaso iluminado (Seehearing the Enlightened Failure), a retrospective that brings together more than 100 works by the Chilean artist Cecilia Vicuña, whose work addresses issues such as the environment, feminism, human rights humans, decolonization and the relationship between art and politics. The exhibition, curated by Miguel López, one of the most outstanding curators on the current Latin American art scene, arrives in Colombia thanks to the collaboration between the Kunstinstituut Melly (Rotterdam) and the Banco de la República.
CECILIA VICUÑA. SEEHEARING THE ENLIGHTENED FAILURE
The Miguel Urrutia Art Museum of the Banco de la República presents the exhibition Veroír el fracaso iluminado (Seehearing the Enlightened Failure), a retrospective that brings together more than 100 works by the Chilean artist Cecilia Vicuña, whose work addresses issues such as the environment, feminism, human rights humans, decolonization and the relationship between art and politics. The exhibition, curated by Miguel López, one of the most outstanding curators on the current Latin American art scene, arrives in Colombia thanks to the collaboration between the Kunstinstituut Melly (Rotterdam) and the Banco de la República.
Stockholm syndrome occurs when a victim establishes an emotional bond with their captors. With motherhood many women feel like this: their life is no longer theirs and escaping is impossible. However, the kidnappers are not the daughters or the sons. The perpetrator is the patriarchal system that, under the story of love, hides the tasks that sustain life while exploiting them. The works exhibited here reveal motherhood as a disputed concept. On one side is the violence of labor and legal demands; on the other, the struggles that intertwine like a tide around the need for reproductive rights and care strategies that escape capitalist accumulation. This is an example of the enormous political power of motherhood.
MUAC EXHIBITS “MOTHERING. BETWEEN STOCKHOLM SYNDROME AND ACTS OF PRODUCTION”
Stockholm syndrome occurs when a victim establishes an emotional bond with their captors. With motherhood many women feel like this: their life is no longer theirs and escaping is impossible. However, the kidnappers are not the daughters or the sons. The perpetrator is the patriarchal system that, under the story of love, hides the tasks that sustain life while exploiting them. The works exhibited here reveal motherhood as a disputed concept. On one side is the violence of labor and legal demands; on the other, the struggles that intertwine like a tide around the need for reproductive rights and care strategies that escape capitalist accumulation. This is an example of the enormous political power of motherhood.
The Centre Pompidou hosts for the first time the sculptures, collages, artist's books, drawings and assemblages by the artist León Ferrari (1920-2013), considered one of the most influential in Latin America.
THE INSEPARABILITY OF ART AND POLITICAL ACTION – LEÓN FERRARI AT THE POMPIDOU
The Centre Pompidou hosts for the first time the sculptures, collages, artist's books, drawings and assemblages by the artist León Ferrari (1920-2013), considered one of the most influential in Latin America.
In his first exhibition since 2019, the photographer returns to deep Buenos Aires in search of reflections of our present through a documentary and poetic reading of the past.
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In his first exhibition since 2019, the photographer returns to deep Buenos Aires in search of reflections of our present through a documentary and poetic reading of the past.
