UNTIL SUNDAY 27/10
VAT. Guillem de Castro, 118
Carolina Caycedo Whats all his art in the defense of environmental justice. He uses videos, facilities, artist's books, photographs, collage and sculptures hung to denounce the capitalist exploitation of the ecological services offered by nature and their impact on local communities living on them and with them. Caycedo does not understand our ecosystem as a resource to exploit, but as a common good that must be protected so that the future generations that inherit it can enjoy it, protecting him if needed as a political subject with rights to court. Spoiler: It takes. She creates from her status as a migrant and racialized Colombian woman in the diaspora (in the United States) in a world of eminently white and male art. It has been very difficult for him to be respected in this magma and is not willing to give up the "artist" label, Although considered very close to the activist figure, Accompanying and supporting social movements and community organizations that oppose the construction of hydroelectric projects and other energy and extractive infrastructures. The Colombian river Yuma, translated into Spanish as Land of friends, He is the main protagonist of this exhibition in the IVAM within a large mural made of satellite images that reconstruct the harmful impact of the construction of the El Quimbo dam on the river, but to her, a public space within the natural context. Land of friends It is also the title of a video where Caycedo follows people in the community affected by Quimbo. This is a specific context, But that catalyzes universal discussions in our globalized world. With the example, The artist says that the historical processes that have been given in the Valencian vegetable garden are very similar to those of Latin America, And this knows that we are not so far from each other invites us to think about our rivers and the waters that hold us here and everywhere.
Anti -colonialism is also present in the sample. The first room includes a large -format drawing that tells us where the key to the conflict in Western Sahara is: phosphate deposits. Phosphate mounds appear by the Moroccan company Phosbouccra - before Spanish - behind the GDeIM IZIK protest violently dismantled by the Alauís armed forces in the 2010. Also we bring the flag of feminism in a large banner that collects, under the title My female lineage of environmental struggle, portraits of women known for their fight against the extractivism of natural sources and patriarchal structures, Global icons such as the indigenous leader Berta Cáceres killed by her environmental activism in Honduras the 2016. In the same room they hang from the roof Cosmoatarrayas, Sculptures made with hand -sewn fishing nets that the artist has collected during his field research in communities located together with rivers that have been affected by the privatization of water. Are craft, permeable and flexible, in front of the prisoners, solid, waterproof and immobile. After a couple of self -referential exhibitions coupled to mark the muscle of his collection, IVAM focus on the environment in the same line of preceding exhibitions such as Landscape i Otobong Nkanga focused on rethinking the territory from the body. Same does Carolina Caycedo, An artist approaching artistic practice criticizing the discourses that define water as a resource in the service of humanity and absolutely committed to the territory understood as an indivisible part of humanity. S.M.
