Carlos Martiel

15 de fevereiro, às 15h.

A performance Posesión será apresentada pelo artista Carlos Martiel no próximo dia 15 (quarta-feira), 15h no Museu de Arte Moderna da Bahia. Na performance proposta pelo artista cubano Carlos Martiel, as questões de classe e raça serão abordadas dentro de uma interpretação sobre o corpo negro, que continua a serviço da sociedade e historicamente tem origem no modelo escravocrata dito “abolido”.

Esse é um trabalho que reflete sobre a experiência dos corpos negros no contexto brasileiro. Uma experiência tristemente ligada a um movimento de redução e exclusão de direitos para a população negra. Em Possessão, Martiel fala do corpo negro como aquele que continua cativo, possuido pelo sistema classista e racista, que mimetiza a mesma práxis perversa de outrora. Ao mesmo tempo o artista ilumina a riqueza e beleza ancestral e a contribuição cultural desse povo subjugado, bem como à capacidade de resiliência e resistência.

Possuídos pela estrutura social que os mantém sem voz, sem acessos e com pouca ou nenhuma reparação a depender da geografia. Corpos que lutam na rotina do dia a dia pela preservação de vivências e memórias diaspóricas para nutrir a sua força.

(mais info aqui)

Museu de Arte Moderna da Bahia | Av. Lafayete Coutinho, s/n – Comercio, Salvador – BA,

October 7, 6 – 8 pm.

Please join artist Carlos Martiel for the premier of his durational performance, Arquitectura para un cuerpo (2022). This work is a site-specific response to the history of Western museums, their relationships to imperial expansion, and their history in objectifying and displaying human subjects and artworks from colonized and racialized nations.

(more info here)

Crystal Bridges Museum of American Art | 600 Museum Way, Bentonville, AR, 72712.

September 24, 2022 — January 15, 2023

In the Mind’s Eye: Landscapes of Cuba examines how Cuban and U.S. painters active largely from 1850 to 1910 projected and injected ideas about Cuba into landscape painting as a reflection of political, social, and ideological changes in both countries. While some artists depicted a pastoral, serene Cuba, others acknowledged the history of race and slavery and created works that equate landscape to nationalism. Multilayered readings found in historic landscapes pictured by U.S. artists reflect the complex ways in which Cuba has been viewed and imagined by its skeptical northern neighbors. U.S. artists William Glackens, Childe Hassam, Winslow Homer, and Willard Metcalf will be featured alongside contemporary artists such as Juan Carlos Alom, María Magdalena Campos Pons, and Juana Valdés. While works by Emilio Perez and Lilian Garcia Roig respond to historic depictions of landscape, while works by Carlos Martiel and Carrie Mae Weems intervene in the historical tropes and ideologies present in the landscapes featured in the exhibition. Other artists featured in the exhibition include Esteban Chartrand, Miguel Melero Rodriguez, Valentín Sanz Carta, Yoan Capote, Enrique Martinez Celaya, Diana Fonseca Quiñones, Alejandro Campins, and Glexis Novoa.

In the Mind’s Eye is accompanied by a catalogue published by Giles, Ltd. featuring essays by Jorge Duany, Katherine Manthorne, and interviews with artists Juana Valdés and Carlos Martiel conducted by Donette Francis and Elvia Rosa Castro.

This exhibition and catalogue are made possible by the Terra Foundation for American Art. Additional generous support for the exhibition is provided by Ramón and Nercys Cernuda and the Gazitua family.

(more info here)

Patricia and Phillip Frost Art Museum | 10975 SW 17th St, Miami, FL 33199.

SEP 16 – JAN 15, 2023

INDECENCIA brings together a cohort of queer/rare* artists from Latin America and/or of Latin American descent and living in the United States, Europe, and the Caribbean or in-between spaces/identities, whose praxes center on performance art and ephemeral actions. From the perspective of several generations, countries, and sociopolitical contexts, these artists invite us to consider Latinidad/Latinxidad and its relationship to religion, enfleshment, and sexuality. Their inquiries extend—through videos, props, scripts, costumes, and other channels—to the disjointed corpus of an entire hemisphere where, for many, the colonized and the colonizer can easily wrestle within a single body.

INDECENCIA engages the indecent theology envisioned and incarnated by Marcella Althaus-Reid (1952–2009), whose unorthodox writing digs deep into sexual dissidence and gender and class analysis. Althaus-Reid’s theology, departing from Catholic Liberation theology, calls for “lifting the skirts of God” to unclothe patriarchy and its oppressing ramifications. Her view of the indecent, and the act of turning something indecent, dismantles normality to not only formulate new questions but produce new answers. Concomitantly, the exhibition connects with the decolonial theory of Walter Mignolo and the idea of “Latin America” as the colonial/imperial project that has shaped the region.

Who is included in or excluded from the Latin/Latinx American and “American” colonial-capitalist corporate enterprise? With this in mind, INDECENCIA remains aware of the potentialities imbued in Latinidad/Latinxidad in relationship to individuals and groups representative of dissimilar backgrounds and yet sharing common histories/herstories/theirstories of European colonization and US imperialism and who are searching for self-determination. And this is where theologizing without underwear, bringing rosaries into the lesbian bar, or talking about God while having sex with the “wrong” partner—performing the sacred with the forbidden—turn into quite indecent and liberatory projects.

This exhibition is dedicated to the late Marcella Althaus-Reid.

Participating artists: Luis A., Arantxa Araujo, Arthur Avilés, Nao Bustamante, Susana Cook, Anna Costa e Silva and Nina Terra, Jean-Ulrick Désert, Marga Gomez, Félix González Torres, Nadia Granados (La Fulminante), Noelia Quintero and Rita Indiana, Carlos Martiel, Carlos Leppe, Elizabeth “MACHA” Marrero, Ivan Monforte, Gigi Otálvaro-Hormillosa, Charles Rice-González, Jesusa Rodríguez and Liliana Felipe, Carmelita Tropicana & Uzi Parnes & Ela Troyano, and Las Yeguas del Apocalipsis.

Curated by Nicolás Dumit Estévez Raful Espejo Ovalles.

*“Raro” is the curator’s translation of “queer” in Spanish. “Raro” means strange, weird, or unusual.

(more info here)

Leslie-Lohman Museum of Art | 26 Wooster St, New York, NY 10013