Son[i]a #325. Cabello/Carceller
26.02.2021

Cabello/Carceller

Cabello/Carceller’s practice can be described as undisciplined rather than as interdisciplinary: it invokes dissent through the actual mixing of artistic genres, experimenting equally with the possibilities of performance, installation, dance, writing, photography, drawing, video, and collage, in various combinations and alliances. Only available in Spanish.

Son[i]a #297 Aura Cumes
12.09.2019

Aura Cumes

Aura Cumes charts a lucid historical path through colonial processes, analysing the mechanisms of control, violence, and dispossession that have perversely shaped the identity of the native-servant, relegated in favour of the progress and well-being of white men, their families, and their capital. Only available in Spanish.

Son[i]a #243 Marysia Lewandowska
12.07.2017

Marysia Lewandowska

The Women's Audio Archive is a collection of recordings of private conversations, seminars, talks, conferences, and public events that Polish-born artist Marysia Lewandowska carefully compiled from 1985 to 1990. Over 200 hours of audio that began as a fictitious archive that provided an interface and a cover for approaching key female figures in the arts and talking to them at length.

Son[i]a #303 Oyèrónké Oyèwùmi
10.01.2020

Oyèrónké Oyèwùmi

Anatomical materiality, scientific visuality, and the emphasis on genitality result in an exaggeration of differences. Professor Oyèwùmi looks at how this matrix was historically imposed on the culture and worldview of the Yoruba, whose language, for example, did not stipulate the existence of sons or daughters, wives or husband, and whose deities always display a fluid identity.

Son[i]a #254 Griselda Pollock
08.03.2018

Griselda Pollock

Griselda Pollock argues that the absence of women in the history of art is not the result of forgetfulness, negligence, or prejudice. It should be understood as the result of a systematic effort to perpetuate the ideological apparatus and the gender hierarchy in our society. As such, instead of thinking in terms of a feminist art history, we should think about “feminist intervention” in art’s histories.

FONS ÀUDIO #25. Eulàlia Valldosera
27.03.2014

Eulàlia Valldosera

Against the backdrop of an international art scene dominated by painting and the primacy of the artistic object as currency, Valldosera developed a series of processual practices in which performance rubs shoulders with action and installation, generating alternative spaces for resistance, experimentation and reflection. Only available in Catalan.

By presenting a story of a victim of violence in Colombia, I am calling on the memory of pain which all human beings have, here or anywhere else in the world.
Doris Salcedo