SPECIAL

REGINA JOSE GALINDO

TIERRA

SEPTEMBER 2017: WEDNESDAYS + SUNDAYS at 09:00pm

Berlin / NY / Shanghai Time


ABOUT THE ARTIST

Regina José Galindo was born in 1974 in Guatemala City. She has completed residencies with Le Plateau, Paris (2005); Artpace, San Antonio, Texas (2008); and Chateau Třebešice, Czech Republic (2009).

Working in the context of a newly democratized society, Galindo has developed a socially and politically motivated practice in which she strives to acknowledge the thirty-six years of civil war her country endured, but also looks forward to a more peaceful and productive future. In her most celebrated work, Who Can Erase the Traces? (Quién puede borrar las huellas?, 2003), she walked barefoot through the streets of Guatemala City, from the Palacio Nacional de la Cultura to the Corte de Constitucionalidad, carrying a basin filled with human blood into which she periodically dipped her feet. The trail of footprints visualized her reaction to the recent news that Efraín Ríos Montt, a former military dictator responsible for the most destructive period of the country's internal conflict, had been permitted to run for president despite constitutional prohibitions. In this work, the line between Galindo's body as object and subject was so subtle that the blood covering her feet appeared to be her own; she embodied the war's victims, taking their blood as hers and appropriating their suffering.

Galindo's oeuvre highlights old problems that persist in the "new" Guatemala. Her works are combative and often shocking, bringing into the public realm topics that few Guatemalans dare confront. Works like Bitch (Perra, 2005), in which she cut her thigh with a knife, or Hymenoplasty (Himenoplastia, 2004), in which she underwent surgery to rebuild her hymen, challenge the ways that women are objectified in her highly conservative homeland. Galindo's unapologetically graphic actions amplify her confrontational statements. She aims to stir her Guatemalan viewers from passivity, disrupting a numbness born from long years of violence.

Galindo has had solo exhibitions at Museum voor Moderne Kunst, Arnhem, Netherlands (2008), Modern Art Oxford (2009); Muzeul Național de Artă Contemporană, Bucharest (2010); Fundación Joaquim Nabuco, Recife (2011); Museum of Latin American Art, Long Beach, California (2012); Centro Atlántico de Arte Moderno, Las Palmas de Gran Canaria, Spain (2013); and Padiglione d'Arte Contemporanea, Milan (2014). Her work has been featured in the group exhibitions Arte ≠ Vida: Actions by Artists of the Americas 1960-2000, El Museo del Barrio, New York (2008), and I Have a Dream, Thessaloniki Centre of Contemporary Art, Salonika (2013). She participated in the Havana Biennial (2009); Venice Biennale (2009 and 2011); Sharjah Biennial, United Arab Emirates (2011); Biennial of Graphic Arts, Ljubljana, Slovenia (all 2011); and Cuenca Biennial, Spain (2012). She has received several awards, including the Golden Lion for a Promising Young Artist at the Venice Biennale, and the Grand Prize Award at the Biennial of Graphic Arts, Ljubljana, Slovenia (2011). In 2014, she completed a residency with Künstlerhaus Bethanien, Berlin. Galindo lives and works in Guatemala City.
Source www.guggenheim.org/artwork/artist/regina-jose-galindo


TIERRA

Video, colour/sound, 33:56min, 2013

In 2012, José Efraín Ríos Montt, the former President of Guatemala, was accused of genocide and crimes against humanity; Regina José Galindo's video is a haunting reinterpretation of the atrocities recounted during his trial. Tierra begins with the artist standing naked in a verdant field, the tranquility of which is shattered by an earth-moving machine. Here, Galindo alludes to the incident in which innocent citizens were murdered and cold-heartedly buried in a bulldozer-dug mass grave. The stark contrast between the machine's huge, armored bulk and the artist's vulnerable body captures the injustice of Montt's regime, while the abyss that grows around her serves as a poignant symbol of the despair and alienation born of political violence in general, and Montt's post-conviction acquittal in particular.

Source https://www.guggenheim.org/artwork/33096


- ¿Cómo mataban gente? -preguntó el fiscal.

- Primero ordenaban al operador de la máquina, al oficial García, que cavara un hoyo. Luego los camiones llenos de gente los parqueaban frente al Pino, y uno por uno, iban pasando. No les disparaban. Muchas veces los puyaban con bayoneta. Les arrancaban el pecho con las bayonetas, y los llevaban a la fosa. Cuando se llenaba la fosa dejaban caer la pala mecánica sobre los cuerpos.

Guatemala vivió durante 36 años una de las más sangrientas guerras. Un genocidio, éste dejó más de 200,000 muertos. El ejército que peleaba contra la insurgencia definió como enemigos internos a los indígenas aduciendo que simpatizaban con la guerrilla y durante cruentos períodos se dedicó a perseguirlos. Con la intención de quedarse con las tierras (bajo la complaciente mirada de la oligarquía nacional) y la justificación de que los indígenas eran enemigos de la patria, el Estado puso en práctica la tierra arrasada. Esta fue una práctica común y característica del conflicto armado guatemalteco. Tropas de soldados del ejército y de las patrullas de defensa civil llegaba a las comunidades indígenas y destruían cualquier cosa que pudiera serles de utilidad para sobrevivir: comida, ropa, cosechas, casas, animales, etc. Quemaba todo. Violaba, Torturaba. Asesinaba. Muchos cuerpos fueron enterrados en fosas comunes que hoy forman parte de la larga lista de evidencias que confirman el hecho.

El anterior testimonio narra una de las formas en que el Ejército construía las fosas previo a asesinar y tirar los cuerpos dentro y fue escuchado durante el juicio por genocidio contra Ríos Montt y Sánchez Rodríguez. Guatemala 2013.


Curaduría: Clare Caroline.
Cámara y fotografía: Bertrand Huet.
Camara: Didier Martial.
Operario: Pascal Pauger.
Asistentes por Estudio Orta: Tiziana Abretti, Sofia Cavicchini, Andrea Rinaudo, Alberto Orta.
Comisionado y producido por Lucy + Jorge Orta.
Realizado durante el Programa de Residencia de Les Moulins. Con el apoyo de University of the Arts London y La Maréchalerie centre d'art Versailles.
(Les Moulins, Francia. 2013)

Source http://www.reginajosegalindo.com/


How to Watch?

On webstream, on free SmartTV app, AppleTV.
Or watch it anytime on ikono On Demand

 

 

Courtesy of the Artist and Prometeogalley by Ida Pisani

 

 

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