“Rotative Repository of Latin American Video Art: Mono Canal” has been on view at El Museo del Barrio (1230 Fifth Avenue) since January 11 and closes on April 30, 2017, so we still have two more weeks… It features 15 Latin American artists. In his description of the exhibition, Dan Jakubowski (ArtForum) writes about the work of Dominican artist Joiri Minaya. The still above is from her Siboney (2014, HD video, sound, 13 minutes 20 seconds). Jakubowski explains that “many of the show’s works focus on the body as a locus of trauma, libidinal tension, and the construction of cultural identity through performance, music, and everyday actions.” Here is Jakubowski’s full description:
This group show from fifteen Latin American artists presents an impressive and sometimes deeply affecting series of video works that is hampered by an ill-conceived and amateurish exhibition approach. Given that the videos rotate over a total running time of nearly two hours on a single LCD screen in the Museo’s café, the show’s title is appropriate, though the quiet intimacy evoked by many of the works calls for—and deserves—a more sophisticated exhibition style that would give each work its own space to subtly operate on its viewers. Margarita Sanchez’s As I Inhale, 2013, a mysterious and silent meditation on loss and grief, suffers the most, as its wispy, spectral forms got lost in the glare cast on the screen by the café’s large windows on the day that I visited the exhibition.
Including early-career and globally known artists from throughout Latin America, many of the show’s works focus on the body as a locus of trauma, libidinal tension, and the construction of cultural identity through performance, music, and everyday actions. Eduardo Gil’s 2010 work Muscle Memory (Books of David Alfaro Siqueiros), 2010, features Gil volleying tennis balls against the gallery walls of the famed Mexican muralist’s former studio, interspersed with rapid shots of the ball striking books from Siqueiros’s private library.
Joiri Minaya’s Siboney, 2014, also explores bodily movement within a cultural context, showing the artist painting a mural of lush tropical vegetation while the artist, subtitled, angrily questions the Western-centric cultural narrative that traps her as a representative of the exotic and the sensual. She eventually wets her body and wipes the mural from the wall, smudging the leaves and flowers in a smear of color and motion.
See Joiri Minaya’s artist’spage at http://www.joiriminaya.com/