{"id":5005,"date":"2021-02-18T09:07:58","date_gmt":"2021-02-18T15:07:58","guid":{"rendered":"https:\/\/borderlessmag.org\/?p=5005"},"modified":"2022-09-30T12:59:27","modified_gmt":"2022-09-30T17:59:27","slug":"una-nueva-exposicion-de-arte-contemporaneo-eleva-las-experiencias-latinas","status":"publish","type":"post","link":"https:\/\/borderlessmag.org\/es\/2021\/02\/18\/new-contemporary-art-exhibit-uplifts-latinx-experiences\/","title":{"rendered":"Una nueva exposici\u00f3n de arte contempor\u00e1neo eleva las experiencias latinas"},"content":{"rendered":"

Above: Candida Alvarez\u2019s \u201cSon So & So\u201d<\/span>
\nImage courtesy of DePaul Art Museum<\/span><\/p>\n

Leer en espa\u00f1ol<\/a><\/span><\/strong><\/p>\n

In 2019, Yvette Mayorga began painting vases in her signature technique \u2014 piping acrylic colors with cake-decorating tools \u2014 to create visceral artworks that challenge the mythos of the American dream.<\/span>\u00a0<\/span><\/i><\/p>\n

\u201cA Vase of the Century 1 (After Century Vase c. 1876)\u201d recreates an ornate 19th-century vessel that commemorates America\u2019s centennial, only the Chicago artist has inserted visuals that reflect her personal history as a daughter of Mexican immigrants. A brown-skinned figure in a baseball cap replaces the portrait of George Washington, and vignettes of the United States-Mexico border wall replace patriotic scenes. A youthful charm bracelet, linking smiley faces, cherries, and pink Barbie doll cars, encircles the vase.<\/span><\/p>\n

For Mayorga, the transformation centers her family\u2019s immigrant experience while anchoring it in histories of oppression and erasure. \u201cMy family has contributed to the construction of this country through exploitative labor,\u201d she said. \u201cRetelling these stories and integrating them into historical artworks is a way of making them important. It continues to form our visibility as important figures in the history of this country.\u201d<\/span><\/p>\n

\"Mexican,

Yvette Mayorga\u2019s \u201cA Vase of the Century 1 (After Century Vase c. 1876), 2019\u201d
Image courtesy of DePaul Art Museum<\/p><\/div>\n

Last February, the DePaul Art Museum (DPAM) acquired Mayorga\u2019s painting<\/span> as part of a major institutional initiative to increase the visibility of Latinx artists, <\/span>especially those with ties to Chicago<\/span>. It is currently on view in \u201c<\/span>LatinXAmerican<\/span><\/a>,\u201d an exhibition of artists of Latin American and Caribbean heritage that showcases a wide range of distinct perspectives on identity, touching on issues such as immigration, cultural diffusion, colonization, labor, and craft.\u00a0<\/span><\/p>\n

Contemporary paintings, photography, sculpture and more by nearly 40 artists fill galleries across two floors in what is the largest-ever survey of Latinx art mounted in DPAM\u2019s 36-year history. (DPAM uses the term Latinx as a \u201cnonbinary, gender-inclusive alternative to Latino or Latina\u201d but recognizes that not every artist identifies as such.) Open through August 15, people can walk through the bilingual exhibition virtually while the museum remains closed due to the pandemic.<\/span><\/p>\n\t\t

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Julio Salgado on Telling Community Stories as an Undocumented and Queer Artist\u00a0\u00a0<\/a><\/h3>\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\tFrancisco Velazquez<\/a><\/span><\/span>\t\t\t\t\t\t\t\t\u00b7<\/span>\n\t\t\t\t\t\t\t\tagosto 19, 2020<\/a><\/span>\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t<\/header>\n\t\t\t\t<\/div>\n\n\t\t\t<\/div>\n\t\t<\/article>\n\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\n

Most pieces come from DPAM\u2019s permanent collection and were chosen not by a single curator but by six staff and interns, half of whom identify as Latino\/a\/x. While well-established artists such as Mexican photographer Graciela Iturbide and Chicana graphic artist Ester Hernandez are featured, also present are many artists who have a less robust presence in U.S. museums. These include Salvador Jim\u00e9nez-Flores, who sculpts stoic, cacti-like totems that symbolize the resilience of immigrants, and Melissa Leandro, whose evocative textile work \u201cfossil things\u201d (2018), which explores cultural identity and domestic space, was acquired by DPAM last year.\u00a0<\/span><\/p>\n

\"nopales,

Salvador Jim\u00e9nez-Flores\u2019s \u201cNopales hibridos: An Imaginary World of Rascuache-Futurism, 2017\u201d
Image courtesy of DePaul Art Museum<\/p><\/div>\n

\u201c\u2018LatinXAmerican\u2019 is us exploring cross-cultural connections and the slippery, complicated, beautiful way of living between cultures,\u201dsaid Laura-Caroline de Lara, DPAM\u2019s interim director. \u201cWe\u2019re mining our collection to get a full scope of Latinx artists who are present and really trying to increase our efforts to fill holes, of which there are plenty.\u201d<\/span>
\n<\/span><\/p>\n

That latter goal is a core motivation of the Latinx Initiative, DPAM\u2019s multi-year effort to better represent Chicago\u2019s diverse Latinx communities through its collections and programming. Launched last year, the initiative was o<\/span>riginally developed under the leadership of former director and chief curator Julie Rodrigues Widholm in response to <\/span>a 2019 survey<\/span><\/a> on artist diversity in 18 major U.S. museums (DPAM was not among the group). The multi-author study, published on the website of the nonprofit Public Library of Science (PLOS), <\/span>found<\/span> that <\/span>only 2.8 percent of artists in those collections are Hispanic\/Latinx. At the same time, looted art and objects from Central and South America, many taken during colonial conquests, remain in collections around the world; thousands of relics continue to <\/span>circulate<\/span><\/a> on the art market. (A <\/span>concurrent exhibition<\/span><\/a> at DPAM by artist Claudia Pe\u00f1a Salinas examines disputes over the repatriation of an Aztec headdress currently in a Vienna museum.)<\/span><\/p>\n

DPAM is still compiling statistics on its 4,000-object collection, but adequate representation of Latinx art is \u201csomething we know we\u2019re lacking in,\u201d de Lara said. \u201cAnd this [initiative] is us actively working on that.\u201d Especially considering that Latinx communities make up<\/span> 29 percent<\/span><\/a> of Chicago\u2019s population and 16 percent of DePaul\u2019s student body, \u201cit just made sense to curb that disproportionate number,\u201d she added.<\/span><\/p>\n

\u201cBeing part of a university, we also use our artwork as teaching tools. Dealing with themes that reflect our Chicago communities is a big part of what we look for in our work.\u201d<\/span>
\n<\/span><\/p>\n

\"Cuban,

Candida Alvarez\u2019s \u201cSon So & So\u201d
Image courtesy of DePaul Art Museum<\/p><\/div>\n

DPAM\u2019s \u201cLatinXAmerican\u201d aims to include Latinx artists from different generations and circumstances, reflecting the diversity of the Latinx experience. Pleasant memories are commemorated, as in Candida Alvarez\u2019s energetic 2001 painting \u201cSon So & So,\u201d which is named for both her son and for the rhythms of music from Cuba that she enjoyed while growing up in Puerto Rico. And speaking a language of desire through flower petals, Alejandro Jim\u00e9nez-Flores delivers tender pastel and plaster works grounded in the artist\u2019s playful childhood experiences in Mexico.<\/span><\/p>\n

Other works document political organizing and community power, such as Nicole Marroquin\u2019s silkscreen prints, which record Latinx contributions to social justice issues in Chicago. One recounts the details of the <\/span>1968 Harrison High School student uprising<\/span><\/a>, when Mexican, Mexican American, and Puerto Rican students walked out in solidarity with Black classmates to protest discrimination. Another compiles mastheads of more than two dozen local Spanish-English newspapers that operated between 1927 and 1985.\u00a0<\/span><\/p>\n

\"Nicole

Nicole Marroquin\u2019s \u201cUntitled\u201d poster from 2018 depicts the mastheads of Chicago Latinx bilingual Spanish-English newspapers from 1927\u20131985 that served or reported on Latinx communities of Chicago, and are now out of print and unarchived.
Image courtesy of DePaul Art Museum<\/p><\/div>\n

The personal and the political meld in Tanya Agui\u00f1iga\u2019s performance work \u201cAmerica\u2019s Wall (El muro de America),\u201d in which she imprinted a section of the U.S.-Mexico border wall on a white sheet. Agui\u00f1iga, a Los Angeles-based artist who grew up in Tijuana, Mexico, made the work as a way to educate people about the border at a time when former President Donald Trump was talking about building a wall.<\/span><\/p>\n

\u201cPeople kept asking me, \u2018So there\u2019s no wall [already]?\u2019 It was this lack of understanding about the borderlands when they don\u2019t live close enough,\u201d said Agui\u00f1iga, who regularly crossed the border for 14 years to attend school in San Diego. \u201cNot a lot of people [in America] have experiences meeting anybody from the border.\u201d<\/span><\/p>\n

In 2018, after prototypes for Trump\u2019s wall were built near the California-Mexico border, Agui\u00f1iga and her team traveled there. On the Mexico side, they rubbed a vinegar-soaked sheet on a section of fencing erected in 1994 \u2014 strips of corrugated jet landing mats recycled from Operation Desert Storm \u2014 effectively rust-dyeing the fabric. \u201cI could then have a fence that could travel,\u201d Agui\u00f1iga said. \u201cI could show it to people and say, look, the fence exists, this is what the texture is like. This fence that traces so many instances of U.S. imperialism<\/a> and so much pain, specifically against brown people.\u201d<\/span><\/p>\n

In the performance documentation, the wall prototypes are just visible, their polished surfaces standing in stark contrast to its timeworn predecessor. \u201cThe border is literally this massive scar on the land but also through us,\u201d Agui\u00f1iga added. \u201cIt\u2019s this constant pain we carry.\u201d<\/span><\/p>\n

DPAM is just one of many U.S. cultural institutions gradually recognizing these experiences as part of American history. For artist Mayorga, the representation is overdue. \u201cThis is the beginning of acknowledging the importance of our voices and to really represent us in contemporary American art history,\u201d she said. \u201cBut I hope we continue to be included beyond this frame and not just be defined by our race or ethnicity.\u201d<\/span><\/p>\n

DePaul Art Museum’s LatinXAmerican exhibit is open through Aug. 15. The exhibition is viewable online<\/a> while the museum’s facilities are closed due to the COVID-19 pandemic.<\/em><\/p>\n

Our work is made possible thanks to donations from people like you. Support high-quality reporting by making a tax-deductible donation today. \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/span>\n\t\t\t Donate \n\t\t<\/a><\/h4>\n","protected":false},"excerpt":{"rendered":"

En el Museo de Arte DePaul, una importante muestra de arte intergeneracional celebra las contribuciones de artistas latinos vinculados a Chicago.<\/p>","protected":false},"author":12,"featured_media":5007,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"footnotes":""},"categories":[318],"tags":[],"coauthors":[233],"class_list":{"0":"post-5005","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-arts-culture"},"yoast_head":"\nNew Contemporary Art Exhibit Uplifts Latinx Experiences – Borderless Magazine NFP<\/title>\n<meta name=\"description\" content=\"At the DePaul Art Museum, a major intergenerational art show celebrates the contributions of Latinx artists with ties to Chicago.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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