The Juventus passed Colombian artist and activist Carolina Caycedo ultimaba the details of the mounting of his Spiral Exhibition for the rooms shared at the Chopo University Museum, which should be listed for its opening on Saturday. It is a large-scale installation that occupies the central hub of the recent exhibition, which is a series of speeches given by communities of various regions of Mexico, all of which are affected by different levels of extractionism.
This collaborative work, all of which have a political and social stance, is one more block in the body that Caycedo has modeled and enriched in his artistic tray. It was a simple act !, a way of amplifying the voices of the people in all Latin America who resist in the air by the territory, by the recourse, against the colonialism, the appropriation, the displacement, the institutional violence, empresarial y estatal perpetuadas bajo banderas con standandartes de todos los colores.
Ese jueves, Caycedo era una artista de tres pistas: a la par que inspekionaba eltje technique de las redes y sober algunas de ellas tejía pequeñas esculturas: un ojo, un camarón, el prehispánico del atl (agua), por mention a unas , also attends present and online interviews to introduce you to your proposal.
Las Cosmotarrayas
Spiral for shared rooms, amplified by the artist, is part of a long-distance work called “Repression / Repression”, with the study and evidence of the effects on water bodies and women’s habits and actions, aggravated by children o repressed mineral debris, by mentioning only types of extractive projects.
One of the central pieces of this series is called the “Cosmotarrayas”, which are artisanal speeches of fish caught by the various communities that dialogue with Caycedo and transmit the tejidos that, by their ductile quality, are convened in monumental corpus.
For the case of Mexico, the Colombian artist met with four teams of fishermen and a committee in defense of the water: the Cooperative Mujeres del Manglar, in Zapotalito, Oaxaca; the Salvemos Committee of Temacapulin, Acasico and Palmarejo, in Jalisco; the Norte de Tecuala Cooperative, in Nayarit, and the Golfo Collective Collective, in Baja California Sur. All of the affected, violent, and destructive regions are known to carry fishing nets from their communities to integrate the show into the Chopo.
“In Zapotalito we are building a bocabra that has tapped the marine flux haci the interior of the stage and released all the fishing projects in the region. In Temacapulín there is a conflict over the privatization of the water, as many others have in Mexico ”, exemplifies Caycedo.
Once the speeches are received, the artist works together with the Mexican design studio Neko to paint and arm the angles that allow them to form distinct shapes in the mount.
“Some speeches are extending and functioning like a lens because there are even more figures. Otra form that the ladies emulan ese moment in which the speeches are lanzan and are in the air, antes to touch the water. I also have other forms with sculptural explorations that interest me, because the red as the object of a marvelous sculptural game, I have my fascination with them. The speeches contain the knowledge of the tejido, the ancestral knowledge of the fish and the relationship with the rivers, the costs and the sea; contains the food sovereignty of the people and its economic autonomy, which is a political and emancipatory position and we think in this capitalist system that we invite to buy everything completely processed ”.
The real estate expo
What are the differences between the governors of Izquierda and the right when both “extremists” allow the extractivism and sometime of the people? This question is considered inevitable in the conversation.
“These are the parts we are talking about and those who are referring to the title,” Caycedo said. “From the north point of the Pacific coast, the point in Chile is divided, there are gaps in the defense of territories and local, community projects. I take the courage to see that many governing bodies like izquierda, extractive or non-extractive, like the dice and their processes taken from the izquierda in our lands, themselves allowing the expulsion of our common commons. We are witnessing a loss of confidence in the political structure and we need to share our views on other political structures ”.
Ultimately, lamenting the artist, it is a duty to be an ambientist or a social leader in our countries. “Since cultural institutions need to recover as space to hold unnecessary debates: since social violence violations have the climatic change and the energy transition that our other subdivisions share”.
Carolina Caycedo, who exhibited at El Chopo last June, has worked with communities working with water bodies that have been impacted by extractivism in countries such as Colombia, Brazil, the Philippines and now Mexico. Although it has also raised its “Cosmotarrayas” to museums of distinct cities in the United States.
Reference-www.eleconomista.com.mx