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Naomi Rincón Gallardo, set photograph of Resiliencia Tlacuache [Opossum Resilience], 2019, HD video, color, sound, 16’01’’, courtesy Naomi Rincón Gallardo, photo: Claudia López Terroso
Teatro da Vertigem, Marcha à ré [Reverse Gear], 2020, performance at Paulista Avenue, São Paulo, BR, photo: Matheus José Maria
El Palomar, Schreber is a Woman, 2020, film poster, courtesy El Palomar
Andrés Fernández, untitled, 2014 , pen on paper, 21 × 30 cm, courtesy Debajo del Sombrero, Madrid
Solvognen (The Sun Chariot) Theater Group, Santas with their Trojan goose in front of City Hall, 1974, photograph of the performance The Santa Claus Army, courtesy Solvognen (The Sun Chariot) Theater Group
Brenda Fajardo, Alaala ni Erol, Bens, Julia, Jake atbp. Maging Matatag, Huwag Sumuko! [Memory of Erol, Bens, Julia, Jake, and Others. Be Courageous, (People who took their lives)], 2018, colored ink on paper, 28.3 × 40 cm, courtesy Brenda V. Fajardo; Tin-aw Art Management, Inc.
Francisco Copello, Madhouse, no date, collage, photography, magazine sheet, paper on cardboard, 51 × 38 cm, courtesy Collection Family Copello Norero; Die Ecke, Santiago, CL
La rara troupe, La humana perfecta (The perfect human), 2018, video, b/w, sound 13’07’’, courtesy LAAV_ MUSAC, León
Noor Abuarafeh, Am I the ageless object at the museum?, 2018, video, color, sound, 15’08’’, courtesy Noor Abuarafeh
Aykan Safoğlu, Hundsstern steigt ab [Dog Star Descending], 2020, single-channel video installation, color, sound, 12’, courtesy Aykan Safoğlu
Shuvinai Ashoona, Salt Bones, 2016, ink and colored pencil on paper, 121.9 × 165.1 cm, courtesy Shuvinai Ashoona; Collection Peter Ross
Dana Michel and Tracy Maurice, Lay them all down, 2020 , video footage of the video and live performance Jams do Jams at the Musée d’art contemporain de Montréal, 23.10.–3.11.2018, courtesy Dana Michel and Tracy Maurice
Pedro Moraleida Bernardes, Enfim, Ganhei a Dádiva Divina [At Last, I Have Gained the Divine Gift], from the series Deleuze: Corpo Sem Órgãos [Deleuze: Body without Organs], 1998, acrylic, colored pencil and collage on paper, 78 × 108 cm, framed, courtesy Instituto Pedro Moraleida Bernardes, photo: Click Karlão
Sara Sejin Chang (Sara van der Heide), Four Months, Four Million Light Years, 2020 (detail), watercolor on paper, courtesy Sara Sejin Chang (Sara van der Heide)
Galli, Turbasky, 1987, mixed technique on cardboard, 122.5 × 86 cm, copyright: VG Bild-Kunst, Bonn 2020, photo: Mark Mattingly
Cansu Çakar, Circumcision Feast, from the series Labyrinth to Kybele, 2020, watercolor, gouache, and gold on paper, 70 × 100 cm, courtesy Cansu Çakar, photo: İlyas Hayta
Emma Howes and Justin Kennedy, Alive, 2019, performance view at Palácio Ateneu Comercial do Porto, courtesy Emma Howes, Justin Kennedy, photo: Duda Affonso
Edgar Calel in collaboration with Fernando Pereira dos Santos, Sueño de Obsidiana [Obsidian Dream], 2020, HD video, color, sound stereo, ca. 13’, © Sendero Filmes, courtesy Edgar Calel and Fernando Pereira dos Santos, photo: Chico Bahia
Young-jun Tak, Chained, 2020, installation composed of resin, fiberglass, paper, glue, courtesy Young-jun Tak, photo: Elmar Vestner
Mapa Teatro – Laboratorio de Artistas, Index #3: Socratea Exorrhiza (The Walking Palm), 2020, animated landscape: palm automaton, 2 videos, color, sound, 18’, courtesy Mapa Teatro – Laboratorio de Artistas, camera: Javier Hernández
Bartolina Xixa, Ramita Seca, La Colonialidad Permanente [Dry Twig, The Permanent Coloniality], 2019, HD video, color, sound, 5’07’’, courtesy Bartolina Xixa
Paula Baeza Pailamilla, Kurü Mapu [Black Land], 2018, documentation, Plaza de Armas, Santiago de Chile, courtesy Paula Baeza Pailamilla, photo: Lorna Remmele Riedel
Marwa Arsanios, Who is Afraid of Ideology? (Part 3) – Microresistances, 2020, video, color, sound, ca. 30’, courtesy Marwa Arsanios; mor Charpentier, Paris
Virginia Borges, Gil DuOdé, and Virginia de Medeiros, Ìyá Agbára [Strength of Mothers], 2020, 16mm film transferred to HD, color, sound, 11’32’’, courtesy Virginia Borges, Gil DuOdé, and Virginia de Medeiros
Francisco Huichaqueo, Ilwen. Entuadpeyüm [The earth smells of father], 2013–15, super 8 transferred to HD, color, sound, 7’42’’, courtesy Francisco Huichaqueo
Kiri Dalena, Alunsina, 2020, video, color, sound, 45’, courtesy Kiri Dalena, camera: Denesse Victoria
Katarina Zdjelar, Not a Pillar Not a Pile (Tanz für Dore Hoyer), 2017, 4K video, color, sound (loop), courtesy Katarina Zdjelar; SpazioA, Pistoia
Aline Baiana, Decommissioned gold mine, Minas Gerais – Brazil, January 2020, research image, courtesy Aline Baiana
Carlos Motta, Libera Me (featuring Ernesto Tomasini), 2016, video, b/w, sound, 2’30’’, part of REQUIEM, 2016, 3 channel video installation, courtesy Carlos Motta; mor charpentier, Paris
Florencia Rodriguez Giles, Biodelica (part of diptych), 2018, pencil on paper mounted on canvas, 220 × 150 cm, courtesy Florencia Rodriguez Giles; Ruth Benzacar Galería de Arte, Buenos Aires, photo: Ignacio Iasparra
Ubirajara Ferreira Braga, A procissão [The Procession], 1995, gouache on paper, 47.8 × 65.7 cm, courtesy Complexo Hospitalardo Juquery – São Paulo State Government and Prefeitura de Franco da Rocha, BR
Óscar Fernando Morales Martínez, Santa Luisita Angelica, 26.11.2019, felt-tip marker on paper, 53.5 × 37.5 cm, courtesy Óscar Fernando Morales Martínez; private collection, photo: Jule Felice Frommelt
Delaine Le Bas, St Sara Kali George (detail), 2020, mixed media, embroidery on fabric, courtesy Delaine Le Bas; Lincoln Cato & Yamamoto; Keiko Rochaix London, photo: Lincoln Cato
Sandra Gamarra Heshiki, The Museum of Ostracism (detail), 2018, installation view, courtesy Sandra Gamarra Heshiki, galería 80m2, Lima, PE, photo: Juan Pablo Murrugarra
Sandra Gamarra Heshiki, The Museum of Ostracism (detail), 2018, installation view, courtesy Sandra Gamarra Heshiki, galería 80m2, Lima, PE, photo: Juan Pablo Murrugarra
View entrance corner tower, ExRotaprint (Gottschedstraße/Bornemannstraße), Berlin, 2019, photo: Daniela Brahm
Documentation
The Crack Begins Within
How to make a video art project during the pandemic in Spain? One bed for Schreber / how was Schreber is a Woman done is a making-of about the video installation, Schreber is a Woman. The project by Barcelona-based collective El Palomar was produced for the 11th Berlin Biennale of Contemporary Art. All the images were recorded during Covid-19 quarantine in spring 2020.
Camera and interviews: Candela Cuervo
Edition and music: El Palomar
With the appearance of: Aimar Perez Galí, Alex Birba, Alex de la Croix, Alex Gracià, Alain Lavigne, Alicia Sango, David Priego Bueno (Vidda), Diego Alcavar, Elisabeth Sánchez, Erik Skoogh, Helena Fenoy, Jorel Jean León Dandy, Julietta Lutti, Marc Borràs, Mariokissme, Nika Wolfe, R. Marcos Mota, Teo Canela
Feminist Health Care Research Group
Web archive
Freiheit für Chile!
Anonymous
Photo album
COVID-19 VIDEOS
Carlos Motta
Video
Being in Crisis together – Einander in Krisen begegnen
Feminist Health Care Research Group (Inga Zimprich/Julia Bonn)
Online workshop
El primer nueva corónica y buen gobierno
Felipe Guamán Poma de Ayala
Chronicle
Umbilical Cord Amulet
McCord Museum
Object
By using this website you agree to the use of cookies in accordance with our data privacy policy.
Naomi Rincón Gallardo, set photograph of Resiliencia Tlacuache [Opossum Resilience], 2019, HD video, color, sound, 16’01’’, courtesy Naomi Rincón Gallardo, photo: Claudia López Terroso
Teatro da Vertigem, Marcha à ré [Reverse Gear], 2020, performance at Paulista Avenue, São Paulo, BR, photo: Matheus José Maria
El Palomar, Schreber is a Woman, 2020, film poster, courtesy El Palomar
Andrés Fernández, untitled, 2014 , pen on paper, 21 × 30 cm, courtesy Debajo del Sombrero, Madrid
Solvognen (The Sun Chariot) Theater Group, Santas with their Trojan goose in front of City Hall, 1974, photograph of the performance The Santa Claus Army, courtesy Solvognen (The Sun Chariot) Theater Group
Brenda Fajardo, Alaala ni Erol, Bens, Julia, Jake atbp. Maging Matatag, Huwag Sumuko! [Memory of Erol, Bens, Julia, Jake, and Others. Be Courageous, (People who took their lives)], 2018, colored ink on paper, 28.3 × 40 cm, courtesy Brenda V. Fajardo; Tin-aw Art Management, Inc.
Francisco Copello, Madhouse, no date, collage, photography, magazine sheet, paper on cardboard, 51 × 38 cm, courtesy Collection Family Copello Norero; Die Ecke, Santiago, CL
La rara troupe, La humana perfecta (The perfect human), 2018, video, b/w, sound 13’07’’, courtesy LAAV_ MUSAC, León
Noor Abuarafeh, Am I the ageless object at the museum?, 2018, video, color, sound, 15’08’’, courtesy Noor Abuarafeh
Aykan Safoğlu, Hundsstern steigt ab [Dog Star Descending], 2020, single-channel video installation, color, sound, 12’, courtesy Aykan Safoğlu
Shuvinai Ashoona, Salt Bones, 2016, ink and colored pencil on paper, 121.9 × 165.1 cm, courtesy Shuvinai Ashoona; Collection Peter Ross
Dana Michel and Tracy Maurice, Lay them all down, 2020 , video footage of the video and live performance Jams do Jams at the Musée d’art contemporain de Montréal, 23.10.–3.11.2018, courtesy Dana Michel and Tracy Maurice
Pedro Moraleida Bernardes, Enfim, Ganhei a Dádiva Divina [At Last, I Have Gained the Divine Gift], from the series Deleuze: Corpo Sem Órgãos [Deleuze: Body without Organs], 1998, acrylic, colored pencil and collage on paper, 78 × 108 cm, framed, courtesy Instituto Pedro Moraleida Bernardes, photo: Click Karlão
Sara Sejin Chang (Sara van der Heide), Four Months, Four Million Light Years, 2020 (detail), watercolor on paper, courtesy Sara Sejin Chang (Sara van der Heide)
Galli, Turbasky, 1987, mixed technique on cardboard, 122.5 × 86 cm, copyright: VG Bild-Kunst, Bonn 2020, photo: Mark Mattingly
Cansu Çakar, Circumcision Feast, from the series Labyrinth to Kybele, 2020, watercolor, gouache, and gold on paper, 70 × 100 cm, courtesy Cansu Çakar, photo: İlyas Hayta
Emma Howes and Justin Kennedy, Alive, 2019, performance view at Palácio Ateneu Comercial do Porto, courtesy Emma Howes, Justin Kennedy, photo: Duda Affonso
Edgar Calel in collaboration with Fernando Pereira dos Santos, Sueño de Obsidiana [Obsidian Dream], 2020, HD video, color, sound stereo, ca. 13’, © Sendero Filmes, courtesy Edgar Calel and Fernando Pereira dos Santos, photo: Chico Bahia
Young-jun Tak, Chained, 2020, installation composed of resin, fiberglass, paper, glue, courtesy Young-jun Tak, photo: Elmar Vestner
Mapa Teatro – Laboratorio de Artistas, Index #3: Socratea Exorrhiza (The Walking Palm), 2020, animated landscape: palm automaton, 2 videos, color, sound, 18’, courtesy Mapa Teatro – Laboratorio de Artistas, camera: Javier Hernández
Bartolina Xixa, Ramita Seca, La Colonialidad Permanente [Dry Twig, The Permanent Coloniality], 2019, HD video, color, sound, 5’07’’, courtesy Bartolina Xixa
Paula Baeza Pailamilla, Kurü Mapu [Black Land], 2018, documentation, Plaza de Armas, Santiago de Chile, courtesy Paula Baeza Pailamilla, photo: Lorna Remmele Riedel
Marwa Arsanios, Who is Afraid of Ideology? (Part 3) – Microresistances, 2020, video, color, sound, ca. 30’, courtesy Marwa Arsanios; mor Charpentier, Paris
Virginia Borges, Gil DuOdé, and Virginia de Medeiros, Ìyá Agbára [Strength of Mothers], 2020, 16mm film transferred to HD, color, sound, 11’32’’, courtesy Virginia Borges, Gil DuOdé, and Virginia de Medeiros
Francisco Huichaqueo, Ilwen. Entuadpeyüm [The earth smells of father], 2013–15, super 8 transferred to HD, color, sound, 7’42’’, courtesy Francisco Huichaqueo
Kiri Dalena, Alunsina, 2020, video, color, sound, 45’, courtesy Kiri Dalena, camera: Denesse Victoria
Katarina Zdjelar, Not a Pillar Not a Pile (Tanz für Dore Hoyer), 2017, 4K video, color, sound (loop), courtesy Katarina Zdjelar; SpazioA, Pistoia
Aline Baiana, Decommissioned gold mine, Minas Gerais – Brazil, January 2020, research image, courtesy Aline Baiana
Carlos Motta, Libera Me (featuring Ernesto Tomasini), 2016, video, b/w, sound, 2’30’’, part of REQUIEM, 2016, 3 channel video installation, courtesy Carlos Motta; mor charpentier, Paris
Florencia Rodriguez Giles, Biodelica (part of diptych), 2018, pencil on paper mounted on canvas, 220 × 150 cm, courtesy Florencia Rodriguez Giles; Ruth Benzacar Galería de Arte, Buenos Aires, photo: Ignacio Iasparra
Ubirajara Ferreira Braga, A procissão [The Procession], 1995, gouache on paper, 47.8 × 65.7 cm, courtesy Complexo Hospitalardo Juquery – São Paulo State Government and Prefeitura de Franco da Rocha, BR
Óscar Fernando Morales Martínez, Santa Luisita Angelica, 26.11.2019, felt-tip marker on paper, 53.5 × 37.5 cm, courtesy Óscar Fernando Morales Martínez; private collection, photo: Jule Felice Frommelt
Delaine Le Bas, St Sara Kali George (detail), 2020, mixed media, embroidery on fabric, courtesy Delaine Le Bas; Lincoln Cato & Yamamoto; Keiko Rochaix London, photo: Lincoln Cato
Sandra Gamarra Heshiki, The Museum of Ostracism (detail), 2018, installation view, courtesy Sandra Gamarra Heshiki, galería 80m2, Lima, PE, photo: Juan Pablo Murrugarra
Sandra Gamarra Heshiki, The Museum of Ostracism (detail), 2018, installation view, courtesy Sandra Gamarra Heshiki, galería 80m2, Lima, PE, photo: Juan Pablo Murrugarra
View entrance corner tower, ExRotaprint (Gottschedstraße/Bornemannstraße), Berlin, 2019, photo: Daniela Brahm
Documentation
The Crack Begins Within
How to make a video art project during the pandemic in Spain? One bed for Schreber / how was Schreber is a Woman done is a making-of about the video installation, Schreber is a Woman. The project by Barcelona-based collective El Palomar was produced for the 11th Berlin Biennale of Contemporary Art. All the images were recorded during Covid-19 quarantine in spring 2020.
Camera and interviews: Candela Cuervo
Edition and music: El Palomar
With the appearance of: Aimar Perez Galí, Alex Birba, Alex de la Croix, Alex Gracià, Alain Lavigne, Alicia Sango, David Priego Bueno (Vidda), Diego Alcavar, Elisabeth Sánchez, Erik Skoogh, Helena Fenoy, Jorel Jean León Dandy, Julietta Lutti, Marc Borràs, Mariokissme, Nika Wolfe, R. Marcos Mota, Teo Canela
III: La familia son quiénes se alegran con nuestros actos diarios. Detrás de las curadoras de la XI
María Berríos, Agustín Pérez Rubio
Conversation
THE MOBILIZATION
Nicolás Cuello
Text
Género y colonialidad en busca de claves de lectura y de un vocabulario estratégico descolonial
Rita Segato
Essay
Fragments of the Artist’s Diary, Berlin 11.2019–1.2020
Virginia de Medeiros
Diary
IV: How Fear Can Dismantle a Body. Vis-a-Vis with two of four curators of the 11th Berlin Biennale
María Berríos, Lisette Lagnado
Conversation
Struggle as Culture: The Museum of Solidarity, 1971–73
María Berríos
Essay
By using this website you agree to the use of cookies in accordance with our data privacy policy.
Naomi Rincón Gallardo, set photograph of Resiliencia Tlacuache [Opossum Resilience], 2019, HD video, color, sound, 16’01’’, courtesy Naomi Rincón Gallardo, photo: Claudia López Terroso
Teatro da Vertigem, Marcha à ré [Reverse Gear], 2020, performance at Paulista Avenue, São Paulo, BR, photo: Matheus José Maria
El Palomar, Schreber is a Woman, 2020, film poster, courtesy El Palomar
Andrés Fernández, untitled, 2014 , pen on paper, 21 × 30 cm, courtesy Debajo del Sombrero, Madrid
Solvognen (The Sun Chariot) Theater Group, Santas with their Trojan goose in front of City Hall, 1974, photograph of the performance The Santa Claus Army, courtesy Solvognen (The Sun Chariot) Theater Group
Brenda Fajardo, Alaala ni Erol, Bens, Julia, Jake atbp. Maging Matatag, Huwag Sumuko! [Memory of Erol, Bens, Julia, Jake, and Others. Be Courageous, (People who took their lives)], 2018, colored ink on paper, 28.3 × 40 cm, courtesy Brenda V. Fajardo; Tin-aw Art Management, Inc.
Francisco Copello, Madhouse, no date, collage, photography, magazine sheet, paper on cardboard, 51 × 38 cm, courtesy Collection Family Copello Norero; Die Ecke, Santiago, CL
La rara troupe, La humana perfecta (The perfect human), 2018, video, b/w, sound 13’07’’, courtesy LAAV_ MUSAC, León
Noor Abuarafeh, Am I the ageless object at the museum?, 2018, video, color, sound, 15’08’’, courtesy Noor Abuarafeh
Aykan Safoğlu, Hundsstern steigt ab [Dog Star Descending], 2020, single-channel video installation, color, sound, 12’, courtesy Aykan Safoğlu
Shuvinai Ashoona, Salt Bones, 2016, ink and colored pencil on paper, 121.9 × 165.1 cm, courtesy Shuvinai Ashoona; Collection Peter Ross
Dana Michel and Tracy Maurice, Lay them all down, 2020 , video footage of the video and live performance Jams do Jams at the Musée d’art contemporain de Montréal, 23.10.–3.11.2018, courtesy Dana Michel and Tracy Maurice
Pedro Moraleida Bernardes, Enfim, Ganhei a Dádiva Divina [At Last, I Have Gained the Divine Gift], from the series Deleuze: Corpo Sem Órgãos [Deleuze: Body without Organs], 1998, acrylic, colored pencil and collage on paper, 78 × 108 cm, framed, courtesy Instituto Pedro Moraleida Bernardes, photo: Click Karlão
Sara Sejin Chang (Sara van der Heide), Four Months, Four Million Light Years, 2020 (detail), watercolor on paper, courtesy Sara Sejin Chang (Sara van der Heide)
Galli, Turbasky, 1987, mixed technique on cardboard, 122.5 × 86 cm, copyright: VG Bild-Kunst, Bonn 2020, photo: Mark Mattingly
Cansu Çakar, Circumcision Feast, from the series Labyrinth to Kybele, 2020, watercolor, gouache, and gold on paper, 70 × 100 cm, courtesy Cansu Çakar, photo: İlyas Hayta
Emma Howes and Justin Kennedy, Alive, 2019, performance view at Palácio Ateneu Comercial do Porto, courtesy Emma Howes, Justin Kennedy, photo: Duda Affonso
Edgar Calel in collaboration with Fernando Pereira dos Santos, Sueño de Obsidiana [Obsidian Dream], 2020, HD video, color, sound stereo, ca. 13’, © Sendero Filmes, courtesy Edgar Calel and Fernando Pereira dos Santos, photo: Chico Bahia
Young-jun Tak, Chained, 2020, installation composed of resin, fiberglass, paper, glue, courtesy Young-jun Tak, photo: Elmar Vestner
Mapa Teatro – Laboratorio de Artistas, Index #3: Socratea Exorrhiza (The Walking Palm), 2020, animated landscape: palm automaton, 2 videos, color, sound, 18’, courtesy Mapa Teatro – Laboratorio de Artistas, camera: Javier Hernández
Bartolina Xixa, Ramita Seca, La Colonialidad Permanente [Dry Twig, The Permanent Coloniality], 2019, HD video, color, sound, 5’07’’, courtesy Bartolina Xixa
Paula Baeza Pailamilla, Kurü Mapu [Black Land], 2018, documentation, Plaza de Armas, Santiago de Chile, courtesy Paula Baeza Pailamilla, photo: Lorna Remmele Riedel
Marwa Arsanios, Who is Afraid of Ideology? (Part 3) – Microresistances, 2020, video, color, sound, ca. 30’, courtesy Marwa Arsanios; mor Charpentier, Paris
Virginia Borges, Gil DuOdé, and Virginia de Medeiros, Ìyá Agbára [Strength of Mothers], 2020, 16mm film transferred to HD, color, sound, 11’32’’, courtesy Virginia Borges, Gil DuOdé, and Virginia de Medeiros
Francisco Huichaqueo, Ilwen. Entuadpeyüm [The earth smells of father], 2013–15, super 8 transferred to HD, color, sound, 7’42’’, courtesy Francisco Huichaqueo
Kiri Dalena, Alunsina, 2020, video, color, sound, 45’, courtesy Kiri Dalena, camera: Denesse Victoria
Katarina Zdjelar, Not a Pillar Not a Pile (Tanz für Dore Hoyer), 2017, 4K video, color, sound (loop), courtesy Katarina Zdjelar; SpazioA, Pistoia
Aline Baiana, Decommissioned gold mine, Minas Gerais – Brazil, January 2020, research image, courtesy Aline Baiana
Carlos Motta, Libera Me (featuring Ernesto Tomasini), 2016, video, b/w, sound, 2’30’’, part of REQUIEM, 2016, 3 channel video installation, courtesy Carlos Motta; mor charpentier, Paris
Florencia Rodriguez Giles, Biodelica (part of diptych), 2018, pencil on paper mounted on canvas, 220 × 150 cm, courtesy Florencia Rodriguez Giles; Ruth Benzacar Galería de Arte, Buenos Aires, photo: Ignacio Iasparra
Ubirajara Ferreira Braga, A procissão [The Procession], 1995, gouache on paper, 47.8 × 65.7 cm, courtesy Complexo Hospitalardo Juquery – São Paulo State Government and Prefeitura de Franco da Rocha, BR
Óscar Fernando Morales Martínez, Santa Luisita Angelica, 26.11.2019, felt-tip marker on paper, 53.5 × 37.5 cm, courtesy Óscar Fernando Morales Martínez; private collection, photo: Jule Felice Frommelt
Delaine Le Bas, St Sara Kali George (detail), 2020, mixed media, embroidery on fabric, courtesy Delaine Le Bas; Lincoln Cato & Yamamoto; Keiko Rochaix London, photo: Lincoln Cato
Sandra Gamarra Heshiki, The Museum of Ostracism (detail), 2018, installation view, courtesy Sandra Gamarra Heshiki, galería 80m2, Lima, PE, photo: Juan Pablo Murrugarra
Sandra Gamarra Heshiki, The Museum of Ostracism (detail), 2018, installation view, courtesy Sandra Gamarra Heshiki, galería 80m2, Lima, PE, photo: Juan Pablo Murrugarra
View entrance corner tower, ExRotaprint (Gottschedstraße/Bornemannstraße), Berlin, 2019, photo: Daniela Brahm
Documentation
The Crack Begins Within
How to make a video art project during the pandemic in Spain? One bed for Schreber / how was Schreber is a Woman done is a making-of about the video installation, Schreber is a Woman. The project by Barcelona-based collective El Palomar was produced for the 11th Berlin Biennale of Contemporary Art. All the images were recorded during Covid-19 quarantine in spring 2020.
Camera and interviews: Candela Cuervo
Edition and music: El Palomar
With the appearance of: Aimar Perez Galí, Alex Birba, Alex de la Croix, Alex Gracià, Alain Lavigne, Alicia Sango, David Priego Bueno (Vidda), Diego Alcavar, Elisabeth Sánchez, Erik Skoogh, Helena Fenoy, Jorel Jean León Dandy, Julietta Lutti, Marc Borràs, Mariokissme, Nika Wolfe, R. Marcos Mota, Teo Canela
IV: How Fear Can Dismantle a Body. Vis-a-Vis with two of four curators of the 11th Berlin Biennale
María Berríos, Lisette Lagnado
Conversation
Maternidades subversivas
María Llopis
Monograph
Feminist Health Care Research Group
Web archive
II: La Solidaridad va Más Allá de un Concepto. Entre las Curadoras de la XI Berlin Biennale
Lisette Lagnado, Agustín Pérez Rubio
Conversation
Freiheit für Chile!
Anonymous
Photo album
Queer Ancient Ways: A Decolonial Exploration
Zairong Xiang
Monograph
By using this website you agree to the use of cookies in accordance with our data privacy policy.
Naomi Rincón Gallardo, set photograph of Resiliencia Tlacuache [Opossum Resilience], 2019, HD video, color, sound, 16’01’’, courtesy Naomi Rincón Gallardo, photo: Claudia López Terroso
Teatro da Vertigem, Marcha à ré [Reverse Gear], 2020, performance at Paulista Avenue, São Paulo, BR, photo: Matheus José Maria
El Palomar, Schreber is a Woman, 2020, film poster, courtesy El Palomar
Andrés Fernández, untitled, 2014 , pen on paper, 21 × 30 cm, courtesy Debajo del Sombrero, Madrid
Solvognen (The Sun Chariot) Theater Group, Santas with their Trojan goose in front of City Hall, 1974, photograph of the performance The Santa Claus Army, courtesy Solvognen (The Sun Chariot) Theater Group
Brenda Fajardo, Alaala ni Erol, Bens, Julia, Jake atbp. Maging Matatag, Huwag Sumuko! [Memory of Erol, Bens, Julia, Jake, and Others. Be Courageous, (People who took their lives)], 2018, colored ink on paper, 28.3 × 40 cm, courtesy Brenda V. Fajardo; Tin-aw Art Management, Inc.
Francisco Copello, Madhouse, no date, collage, photography, magazine sheet, paper on cardboard, 51 × 38 cm, courtesy Collection Family Copello Norero; Die Ecke, Santiago, CL
La rara troupe, La humana perfecta (The perfect human), 2018, video, b/w, sound 13’07’’, courtesy LAAV_ MUSAC, León
Noor Abuarafeh, Am I the ageless object at the museum?, 2018, video, color, sound, 15’08’’, courtesy Noor Abuarafeh
Aykan Safoğlu, Hundsstern steigt ab [Dog Star Descending], 2020, single-channel video installation, color, sound, 12’, courtesy Aykan Safoğlu
Shuvinai Ashoona, Salt Bones, 2016, ink and colored pencil on paper, 121.9 × 165.1 cm, courtesy Shuvinai Ashoona; Collection Peter Ross
Dana Michel and Tracy Maurice, Lay them all down, 2020 , video footage of the video and live performance Jams do Jams at the Musée d’art contemporain de Montréal, 23.10.–3.11.2018, courtesy Dana Michel and Tracy Maurice
Pedro Moraleida Bernardes, Enfim, Ganhei a Dádiva Divina [At Last, I Have Gained the Divine Gift], from the series Deleuze: Corpo Sem Órgãos [Deleuze: Body without Organs], 1998, acrylic, colored pencil and collage on paper, 78 × 108 cm, framed, courtesy Instituto Pedro Moraleida Bernardes, photo: Click Karlão
Sara Sejin Chang (Sara van der Heide), Four Months, Four Million Light Years, 2020 (detail), watercolor on paper, courtesy Sara Sejin Chang (Sara van der Heide)
Galli, Turbasky, 1987, mixed technique on cardboard, 122.5 × 86 cm, copyright: VG Bild-Kunst, Bonn 2020, photo: Mark Mattingly
Cansu Çakar, Circumcision Feast, from the series Labyrinth to Kybele, 2020, watercolor, gouache, and gold on paper, 70 × 100 cm, courtesy Cansu Çakar, photo: İlyas Hayta
Emma Howes and Justin Kennedy, Alive, 2019, performance view at Palácio Ateneu Comercial do Porto, courtesy Emma Howes, Justin Kennedy, photo: Duda Affonso
Edgar Calel in collaboration with Fernando Pereira dos Santos, Sueño de Obsidiana [Obsidian Dream], 2020, HD video, color, sound stereo, ca. 13’, © Sendero Filmes, courtesy Edgar Calel and Fernando Pereira dos Santos, photo: Chico Bahia
Young-jun Tak, Chained, 2020, installation composed of resin, fiberglass, paper, glue, courtesy Young-jun Tak, photo: Elmar Vestner
Mapa Teatro – Laboratorio de Artistas, Index #3: Socratea Exorrhiza (The Walking Palm), 2020, animated landscape: palm automaton, 2 videos, color, sound, 18’, courtesy Mapa Teatro – Laboratorio de Artistas, camera: Javier Hernández
Bartolina Xixa, Ramita Seca, La Colonialidad Permanente [Dry Twig, The Permanent Coloniality], 2019, HD video, color, sound, 5’07’’, courtesy Bartolina Xixa
Paula Baeza Pailamilla, Kurü Mapu [Black Land], 2018, documentation, Plaza de Armas, Santiago de Chile, courtesy Paula Baeza Pailamilla, photo: Lorna Remmele Riedel
Marwa Arsanios, Who is Afraid of Ideology? (Part 3) – Microresistances, 2020, video, color, sound, ca. 30’, courtesy Marwa Arsanios; mor Charpentier, Paris
Virginia Borges, Gil DuOdé, and Virginia de Medeiros, Ìyá Agbára [Strength of Mothers], 2020, 16mm film transferred to HD, color, sound, 11’32’’, courtesy Virginia Borges, Gil DuOdé, and Virginia de Medeiros
Francisco Huichaqueo, Ilwen. Entuadpeyüm [The earth smells of father], 2013–15, super 8 transferred to HD, color, sound, 7’42’’, courtesy Francisco Huichaqueo
Kiri Dalena, Alunsina, 2020, video, color, sound, 45’, courtesy Kiri Dalena, camera: Denesse Victoria
Katarina Zdjelar, Not a Pillar Not a Pile (Tanz für Dore Hoyer), 2017, 4K video, color, sound (loop), courtesy Katarina Zdjelar; SpazioA, Pistoia
Aline Baiana, Decommissioned gold mine, Minas Gerais – Brazil, January 2020, research image, courtesy Aline Baiana
Carlos Motta, Libera Me (featuring Ernesto Tomasini), 2016, video, b/w, sound, 2’30’’, part of REQUIEM, 2016, 3 channel video installation, courtesy Carlos Motta; mor charpentier, Paris
Florencia Rodriguez Giles, Biodelica (part of diptych), 2018, pencil on paper mounted on canvas, 220 × 150 cm, courtesy Florencia Rodriguez Giles; Ruth Benzacar Galería de Arte, Buenos Aires, photo: Ignacio Iasparra
Ubirajara Ferreira Braga, A procissão [The Procession], 1995, gouache on paper, 47.8 × 65.7 cm, courtesy Complexo Hospitalardo Juquery – São Paulo State Government and Prefeitura de Franco da Rocha, BR
Óscar Fernando Morales Martínez, Santa Luisita Angelica, 26.11.2019, felt-tip marker on paper, 53.5 × 37.5 cm, courtesy Óscar Fernando Morales Martínez; private collection, photo: Jule Felice Frommelt
Delaine Le Bas, St Sara Kali George (detail), 2020, mixed media, embroidery on fabric, courtesy Delaine Le Bas; Lincoln Cato & Yamamoto; Keiko Rochaix London, photo: Lincoln Cato
Sandra Gamarra Heshiki, The Museum of Ostracism (detail), 2018, installation view, courtesy Sandra Gamarra Heshiki, galería 80m2, Lima, PE, photo: Juan Pablo Murrugarra
Sandra Gamarra Heshiki, The Museum of Ostracism (detail), 2018, installation view, courtesy Sandra Gamarra Heshiki, galería 80m2, Lima, PE, photo: Juan Pablo Murrugarra
View entrance corner tower, ExRotaprint (Gottschedstraße/Bornemannstraße), Berlin, 2019, photo: Daniela Brahm
Documentation
The Crack Begins Within
How to make a video art project during the pandemic in Spain? One bed for Schreber / how was Schreber is a Woman done is a making-of about the video installation, Schreber is a Woman. The project by Barcelona-based collective El Palomar was produced for the 11th Berlin Biennale of Contemporary Art. All the images were recorded during Covid-19 quarantine in spring 2020.
Camera and interviews: Candela Cuervo
Edition and music: El Palomar
With the appearance of: Aimar Perez Galí, Alex Birba, Alex de la Croix, Alex Gracià, Alain Lavigne, Alicia Sango, David Priego Bueno (Vidda), Diego Alcavar, Elisabeth Sánchez, Erik Skoogh, Helena Fenoy, Jorel Jean León Dandy, Julietta Lutti, Marc Borràs, Mariokissme, Nika Wolfe, R. Marcos Mota, Teo Canela
Hatred Among Us
Lisette Lagnado
Essay
Invitation to the Species: Cecilia Vicuña
Tamaas / Cecilia Vicuña
Podcast
THE MOBILIZATION
Nicolás Cuello
Text
Solidarity and Storytelling. Rumors against Enclosure
María Berríos
Essay
Touching Feeling. Affect, Pedagogy, Performativity
Eve Kosofsky Sedgwick
Monograph
A World Without Bones
Agustín Pérez Rubio
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