Selected
Art projects
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Self Isolation Residencies
Albertine Stahl, Ana Marcos, Ana María Serpa, Dorian Wood, J. Eva Collins, Jacqueline Bonacic-Doric, Joan Villaperros, Jorge Zamorán, Juan Carlos Zúñiga, Larry Kline Kline, Luis Mendoza, Mariela Richmond, Rayo Luján, Sandra Val and Verónica McClainImage: Jacqueline Bonacic, Confinada con el fin del mundo, 2020. Week #1 production report.
The Self-Isolation Residencies is an international cultural cooperation initiative in partnership with the CCECR, Cultural Center of Spain in Costa Rica, the network of Arthouse Spain centers, which is composed of Museo C.A.V. La Neomudéjar, Kárstica Espacio de Creación and Zapadores Ciudad del Arte, in Spain; Building Bridges Art Exchange in Los Ángeles (USA); The Plataforma Caníbal in Barranquilla (Colombia); and MAV, Women in Contemporary Visual Arts.
The fifteen proposals were selected from among the three hundred and seven projects received from Colombia, Costa Rica, Spain and the United States.
The evaluation team was composed of Francisco Brives (Museo Neomudejar), Marisa Caichiolo (Building Bridges Art Exchange, USA), Anxela Caramés, (MAV, Spain); Iris Lam Chen, (El Farolito, Spanish Cultural Center, Costa Rica) and Jaider Orsini (Canibal Platform, Colombia).
Each proposal received a grant of $1,000 USD and €1,000 in the case of grants in Spain. In addition to the fifteen grants, in Colombia the awards include the honor of participating in the Plataforma Caníbal 2020-II program of accompaniment for artists.
MAV joined this emergency aid initiative by providing three grants of €1,000 each, thanks to the support of the Madrid City Council's Creation and Mobility Grants program.
Ana María Serpa, Pollerón
This proposal is 'A tribute to those who have defended the freedom of the land and theircommunities so that they do not fall into oblivion. An homage born from the nostalgia ofmigration and from a confinement that opens eyes. While the whole world looks towards the COVID-19, other things are camouflaged that are also lethal and invasive. The armedconflict in the lands of Colombia.'
Ana María Serpa’s proposal is based on the readings and reflections she began during herconfinement and on the time available to search through her memories and her roots in Colombia. This initially led her to music, the Bullerengue, which later led her to search forold friendships: their profiles, their images, their news, and which finally provoked in her theneed and the impulse to communicate a collective pain, "a violence without a face." For this homage, Serpa has carried out an investigation that concludes with a performancethat she will carry out with her body painted in black, as a sign of mourning, and byreproducing movements inspired by traditional dance. For this performance, she is making a "Pollerón" (a large skirt that forms part of the typical costume of the dance of theBullerengue) on which she will embroider the portraits of peasant leaders who disappearedin Colombia during the months of confinement; and a "mask”, inspired by the headdressesworn by the traditional dancers and fruit vendors of the Colombian Pacific coast.
Jaqueline Bonacic – Doric. Confined to the End of the World
The project Confined to the End of the World draws a parallel between the situation of self-confinement and the extermination of a tribe in Patagonia that I had the opportunity to approach years ago on a trip from Punta Arenas (Chile) to Ushuaia (Argentina). Their own confinement was not enough to prevent the penetration of the germs introduced by the supposed civilization, this being one of the most important causes of their disappearance along with the political decision to appropriate their lands at any cost. And the cost was extermination. My fascination for them grows because of their artistic manifestation, which as a nomadic people, is captured in their body paintings; paintings, symbolic drawings and guanaco skinmasks (a species of wild camelid existing in South America, which is the ancestor that gave birth to two domestic camelids, the llama and the alpaca). From my perspective as an artist I always find meaning in my projects from the vertices that construct me as a person: race, the struggle for territory, my border identity, colonization asan exercise of one's own recognition of and the honesty about one's place in the "colonialchain", dismantling the mandate of masculinity, my ability to be alert, to critique, me and my feelings.
Sandra Val. Liminal spaces.
Liminal Spaces proposes a reflection on the transitory and dual state that forces us to transform our routines and daily life. This border state that expands from a greater or lesserscale makes it difficult for a person to locate themselves. The deprivation of liberty causes a loss of references: time-state, a sense of security more or less imposed from the structures of power, as well as its fragility before of a wide series of adversities. My liminal objects are composed of a series of works that are born from the use of a varied set of processes and tools. These artefacts have the capacity to contextualize different states of liminality; limits between spaces, places of connection and loss, or the idea of displacement and transience.
Dorian Wood, Templo: encarnación y deleite
Ana Marcos, From WINDOW to window.
J. Eva Collins Alonso, Radiovacía
Rayo Lujan, Stay at Home
Stay at Home is a project on the dramatic rise in domestic violence during the days of the confinement period.
Verónica McClain, El Santo
Mariela Richmond - La cosecha, con certeza, llegará.
La cosecha, con certeza, llegará, es un proyecto que explora la relación de la artista con la tierra y su memoria biológica.
