Lo que dicen
esas paredes.
Four installations addressing the structural political-social violence of México and Guatemala — and the acts of cultural resistance that answer it. The danzantes, the wall writings, the family altars, the photographs of the disappeared.
The cyanotype here is doing two things at once: a record of what was found on the wall, and the wall itself. Paper that has been torn, paste-up that has been pasted over, image that has been written over with hand. The room collects these surfaces and hangs them so the act of inscription can be read alongside the act of erasure.
Prints on adhesive-backed polyester were applied directly to the gallery walls and floor — replicating the wheat-pasted surfaces of the original source images, collapsing the distance between the street and the room. The installation space became continuous with what it documents.
What the walls,
the danzantes, the hands say.
The wall,
in moving image.
Cyanotype on bristol, paper, and reclaimed paste-up fragments. Some works are torn and re-stitched along the original tear; others are left as found. Additional works printed on adhesive-backed polyester were applied directly to the gallery walls and floor, replicating the wheat-pasted surfaces of the source imagery.
Cyanotype chemistry coated on a Mexico City rooftop, printed in direct sun, washed in a bucket, hung to dry. Selected pieces are toned in herbal baths — green tea, black tea — to bring warmth back into the blue.
Unique works and small editions. Some pieces remain installed on found surfaces; others are framed for transport.
Continue to the
next room.
The exhibition continues with Sublime — a posthumous homage to Don Ángel González, Puerto Rico after Hurricane María.