Vision and presence 2024: performance cycle

In this performance the Cuban artist sets out to subvert these hegemonic notions of power in order to understand their distorted aspect.

Marta Pinilla presents Baroque Sacred Cosmology in a version updated renewed and adapted to the museum. This performance aims to reflect on what the art world would be like in a parallel universe and its relationship with the Baroque.

In El cuerpo fugaz Dominican artists Lizette Nin and María Monegro focus on themes such as the migrant black body, the human cost of migration and female self-care

With this performance Las Domínguez de Ramos, a collective comprising Viviana Ramos Di Tommaso and María Laura Domínguez, aim to give visibility and pay tribute to the victims of femicide in their country of origin, Argentina, in 2023.

New York-based cross-cultural artist Yohanna M. Roa focuses on Pocahontas and Malinche, two characters with similar lives who played a defining role in the conquest processes.

The second lecture in the performances cycle “Vision and presence”, in this case given by the Argentinian writer Kekena Corvalán, a feminist curator and professor of Latin American art. She will be presenting the “Red Artchivas” [Women’s art/archive network] research and fieldwork project which, for the last fifteen years, has aimed to amplify the pathway of women and protest through collective, territorialised and self-aware artistic practices. 

In this performance Estíbaliz Sádaba revives a series of women artists forgotten by the hegemonic discourse, which is nourished by a linear vision of art history based on chronological and hetero-patricarchal criteria.

The Bolivian artist Alejandra Dorado pays tribute to the street sellers of her native country who, in a context characterised by poverty, unemployment and low quality of life, support the family economically while also doing housework, which brings no financial benefit but occupies part of their time.

In this performance the Guinean artist Dolores Nchama gives voice to and champion all these silenced women through a sonorous performance.

What happens when our gaze changes its epistemological perspective and the canonical works of art history are subjected to a decolonial critique? What ancestral, heteropatriarchal violences are revealed in the representations of masterpieces that have reified the female body?

Aniova Prandy seeks to make visible and create accounts that update our experience and relationship with the past, focusing on memory and the need to honour the dead.

In this performance the Salvadoran artist, wearing a cloak made of fallen branches, undertakes a tour around different works in the collection which depict forests, placing a crown of lilies below each one.