One as another
6 june – 25 september 2016
The expansion of our horizons always involves an encounter with another being. To contemplate the stars, the vast sea, a chain of mountains, or the deep forest, may make us feel insignificant, invisible, rather crushed if we have no one with whom to share this overwhelming sense of vulnerability. There is no self that is limited to itself. On the contrary, it is our capacity to share our condition with others that makes us human.
The works in One as Another remind us that all cultural encounters have inevitably intertwined us with each other. Like the threads of a rana, we are woven together in solidarity, gratefulness, difference, aspirations, sorrow, joy, curiosity, fear, and hope. We share a landscape of crossroads, points of entry and of exit, of tradition and modernity from the ways of the ancestors to our own ways; from rootedness and tacit knowledge, to influences that escape our settled ideas of what is a “place” or how it is described, according to our impositions of national borders and ethnic preconceptions.
More information can be found in the Folder.
Participating artists
Benvenuto Chavajay (b.1978) in San Pedro de la Laguna, Guatemala. Lives and works in Guatemala City. Chavajay graduated from Rafael Rodriguez Padilla School of Plastic Arts, where he currently teaches. His latest exhibitions include SITE Santa Fe, New Perspectives on Art of the Americas, San Diego (2016), and X Bienal de Centro America, Costa Rica (2016). Who Are You, Museo MOlAA, Los Angeles (2016), 10 Mercosul Biennial, Porto Alegre (2015), I Bienal del Sur, pueblo en resistencia, Caracas (2015), KADIST Foundation, San Francisco (2015) and Indigeneity, Decolonialiaty and Art, Fredric Jamson Gallery, Duke University, Durham (2015). He has gotten several awards, among others: First prize at Juannio Latin American Art Auction (2008); he was named “Promising Talent” by Botran Foundation (2002); was one of the finalists at HABITART, Contemporary Central American Art (2003), and won the first price at September 15th Central American Competition (2004). His works, which include everything from performances to sculptures, explore inherent identity, theories about decolonization and how to reform that aspect of everyday social living.
Nicolás Consuegra (b. 1976) Bogotá, Colombia. Lives and works in Bogotá. Consuegra is interested in working and developing projects that are sensitive to time, place, and audience. As well as being an artist Nicolás is also the founder and member of the editorial staff of Revista Asterisco – an artist-driven visual art magazine from Colombia. Consuegra has a BFA from Universidad de los Andes, Bogotá (2002) and a MFA from Pratt Institute, New York (2007). Nicolás has exhibited his art at some of Colombia’s most interesting places and art events such as Biblioteca Luis Angel Arango in Bogotá, Alliance Francaise, Bogotá; 41, 42 and 43 Salón Nacional de Artistas, Colombia, among others. Internationally Consuegra has exhibited his works at places like Itaú Cultural, Sao Paulo, Brasil; CCA Wattis Institute, San Francisco, USA; MOCAD, Detroit, USA; Bard Graduate Center, New York, USA; Santral, Istanbul, Turkey and events like XI Bienal de Monterrey-FEMSA, Mexico.
Carola Grahn (b. 1982) in Jokkmokk. Lives and works in New York. Grahn works from a thirst for vengeance, lust, contempt and alienation. She imagines these emotions as waypoints that point to delusions in self-image and social position. Through her method, she constructs and deconstructs relations to get closer to an understanding of the hierarchy of gender and origin. How those relate to one self-image and how they affect society. She uses several mediums but often returns to text, photography, sound and installations in her attempts to suggest a dialog and reflection of the misconduct.
Ana González (b. 1974) in Bogotá, Colombia. Lives and works in Bogotá. González academic background includes architecture, visual art and editing. She works with several techniques: drawing, painting, photography, video, installations, embroidery and porcelain. Her artistry revolves around inherited culture, collective memory and stories about displacement. In her art González works from her environment, she configures persons and artisans that have been displaced by armed conflicts and migrated to cities. Ana González interest in craftsmanship, family traditions, and her passion for exploring women’s lives and perspectives from artists and scientific points of view has been a frequent source of inspiration. González’s works are represented in museums in South America and the USA as well as private collections all over the world.
Carlos Jacanamijoy (b. 1964) lives and works in Bogota, Colombia. Jacanamijoy studied visual art at Universidad Nacional de Colombia in Bogota. His works are largely exhibited in Colombia and around the world. He’s had bigger individual exhibits at the Smithsonian Museum in New York and Washington, The House of the Americas in Madrid, the Workers Palace in Kina, Museo la Tertulia in Cali, at the Art Museum of Universidad Nacional and León Tovar Gallery in New York, among many others. In 2013, the Museum of Modern Art in Bogotá organized a big retrospective of his works. There are many books published about Carlos Jacanamijoys work and his paintings are represented in many public and private collections in Colombia, France, Germany, England, Venezuela, Mexico and the USA.
Dylan Miner (b. 1976) Is a Wiisaakodewinini (Métis) artist, activist and scientist. Lives and works in Lansing, Michigan. He is the head of the American Indian Studies Program and docent at Residential College in the Arts and Humanities at Michigan State University. Miner is also a co-opted curator for indigenous art at MSU Museum and one of the founders of the Justseeds artist collective. He has a doctorate from the University of New Mexico and has published around sixty articles, critical essays, and encyclopedias. In 2010 he was awarded an Artist Leadership Fellowship from the National Museum of the American Indian. Miner has done around twenty individual exhibitions. His book ”Creating Aztlán: Chicano Art, Indigenous Sovereignty, and Lowriding Across Turtle Island” was published in 2014 by the University of Arizona Press. His separate exhibition ”Silence of Sovereignty” was opened last year, in 2015, in Montreal. Miner is at the moment finishing two books: one about domestic aesthetics and a collection of poems; Ikidowinan Ninandagikendaanan (words I’m trying to learn).
Sandra Monterroso (b. 1974) in Guatemala. Is currently working out of Guatemala City and Vienna. Monterroso has a Ph.D. from the Academy of Arts in Vienna. She has a Master’s Degree in design process, from UPAEP, Puebla and Mexico. She studies graphic design at Rafael Landivar University in Guatemala. She has studied peace and development at Jaume I de Castellon University, Spain. She also has education in engraving and visual art from Guatemala and Mexico. She has participated in several group exhibitions, among the latest the 56:th Venice Biennial, Latin american pavillion– IILA. Indigenous Voices, 2015. 12 Habana Biennal, Between the Idea and Experience, 2015. Her latest solo exhibition was Actions to Abolish the Desire, The 9.99 Galery Guatemala (2014), and Cross Effects, Piegatto Art Galery, Guatemala (2012). Among the awards she has been given are 2:nd och 3:rd price Juannio Subasta de Arte Latinoamericano. Guatemala 2012, 2011. Honorable mentions XVI Biennal for Visual Art Paiz Guatemala, 2008.
Joar Nango (b. 1979) i. Alta, Norway. Lives and works Tromsø. Nango has Sami roots and is an artist and architect with a degree from NTNU in Norway. He is one of the founders of the collective FFB which works with temporary architecture in urban environments. Nangos’ work explores the limit between architecture, design and visual art. Joar Nango brings up questions about domestic identity, by researching the contradictions that exist in modern architecture. He has worked with the theme ”The Modern Same Space” through, among others, a self-published series, Same Huksendáidda: the Fanzine, the design project Samiska Skyddsrum (Sami Shelter’s), and the project Land & Language with mixtape/clothes. His projects have taken him to different places in Sápmi where he has performed detailed studies of Sami architecture. Nango has presented solo exhibitions at Gallery SAW, Ottawa, Canada (2013); Norwegian Sculpture Biennial, Oslo (2013); Knipsu, Bergen, Norway (2012); SDG, Karasjok, Norway (2011) and Raum der Junge Kunste, Berlin, Germany (2010). His works have also been shown in group exhibitions, such as The National Museum of Art, Architecture and Design, Oslo, Norway (2013); Abbaeys aux Dames, Caen, France (2013) and Storefront for Art and Architecture, New York, NY, USA (2012).
Mattias Olofsson (b. 1973) in Skellefteå. Lives and works in Umeå. Olofsson is educated at Umeå art academy from 1999-2004 and investigates questions about identity in relation to belonging and alienation. His works are inspired by masks and confusions, meaning situations where identity grows by being sorted or taking on a role in a bigger structure. Parallel with his artistry he is since 2003 involved with Verkligeheten (Reality), an artist-driven project for contemporary art.
Edinson Quiñones (b. 1982) in Popayán (Cauca), Colombia. Lives and works in Popayán. Quiñones has always been interested in politics and its effects, which he has experienced his entire life: From working as a rasphashin (the one that handpicks the leaves of the coca bush at harvest), as a descendant of the Nasa people; as a son in a family stricken by unemployment and discrimination, having to leave the village he grew up in and move to the cities; as a citizen in a dysfunctional nation, torn apart by corruption, drug economy, violence, and all its sociopolitical consequences; and last but not least, in his life as an artist. The wounds heal and the scars remain: To create scars, the God of the Coca bush, is the title of a performance by Quiñones at the 8th Performance Festival in Cali, Colombia, 2012. Quiñones action consisted of having a tattoo from his back removed, without anesthesia and with an audience, including making sure that the tattoo remained an intact piece of skin. The removed tattoo depicts the God and protector of the coca bush; a plant that has a central part of the people of the Andes. From prehistoric times before the Incas to today, the coca leaves have been used for medicinal and curative purposes, from their capacity to reduce hunger, thirst, and fatigue to being a central ingredient in shaman rituals through the Andes. The removal of the tattoo, and the pain the act involves and mediates, show the violence that is built into the government’s prohibitions, which ignore the indigenous peoples’ right to maintain their ancient traditions, and deny them their cosmologies, self-esteem and independence as political subjects.
Liliana Sánchez (b. 1979) in Bogotá, Colombia. Lives and works in Bogotá. Sánchez has studied MFA in Fine Art på Goldsmiths, University of London (2011), BA Fine Art på Universidad Nacional de Colombia (2005), she was an exchange student at Concordia University in Montreal (2003) and Los Andes University (2001); Sánchez has gotten awards from the culture department in Colombia to be able to carry through several different art projects and has also been awarded Jovenes Talentos Scholarship by Central Bank of Colombia (2009). Sánchez art has been exhibited in and outside of Colombia. Some of her group exhibitions are: Todo sobre la mesa, Casas Riegner Gallery (2016); Gulana, Film Sector. Spit and Dust, AS Gallery, Krakow (2013); El Dorado, Gentil Carioca, Rio de Janeiro (2013). Yes/No-No/Yes, Flat Time House, London (2012). Among the solo exhibitions: Are some oysters cook vitreous rocks (2015), Anonymous Materials (2014), Viscous mass turned shame (2012), The third state or the Principle of Action (2008) at Casas Riegner Gallery, Bogotá; Matter states at Museo Moderno de Barranquilla (2012) and Feline or grown-up cat at Alliance Francese of Bogotá (2008).
Pablo Sigg (b. 1974) in Mexico City. Lives and works in Mexico City. Pablo Sigg is a moviemaker whose views of movies are that they should be allowed to be a sluggish, slow and often unproductive research process. The project for his first feature film, Der Wille zur Macht (premier 2014 at the international film festival in Rotterdam) started in 2009 and ended at the start of 2013. In 2014 he finished his second feature film, I, of Whom I know nothing which was filmed in 2012 and 2013 in the offices and basement of the company Montreuils that 86-year-old John Calder, Samuel Beckett’s publisher London, a close friend and coworker, used as a home.
Eduardo Soriano (b. 1976) in Leticia, Amazonas, Colombia. Lives and works in Bogotá. Soriano’s works have a critical relation to the anthropologic photography that was practiced at the end of 1800 as a tool to document native or exotic cultures that were portrayed as doomed for extinction. Soriano initiates a series of cooperations and exchanges with the native societies in the jungles of the Amazons as well as artisans from different regions. Through these, he dedicates himself to learning about crafts that use natural materials, such as basket weaving. Many of these practices have become more or less obsolete within their societies. But by suggesting a meeting where a sort of story influence or answer to another, Soriano successfully creates a meeting that engages disciplines, materials and ideas from different sources that establish a new balance. Through an exchange of knowledge and genre, this work creates the prerequisites for a meeting without hierarchy, where the watcher and the watched come together in a common exercise that is all about learning the power of the other and handling the individual and collective m memory. The objects that are a part of this exhibition are made from shredded photos, instead of the traditional stings from natural materials. That’s how they cross the boundary between anthropology and art, the photo as a document or a witness, to show and make clear that the photo is also the other, a stranger.
Delcy Morelos (b. 1967) in Tierra Alta (Córdoba), Colombia. Lives and works in Bogotá. Morelos studied at the Cartagena Fine Arts School and has had solo exhibitions since 1990. She has been given the First Award in the Salon de Arte Joven in Bogota (1994). Among her solo exhibitions are La doble negacion [The double denial] at Alonso Garces Gallery, Bogota (2008); Museum of Modern Art Barranquilla (2006); Gt Gallery, Flax Arts Studios Residence Program, Belfast, Irland (2006); and Academia Superior de Artes de Bogota, Santa Fe Gallery, Bogota (2004). Some of her group exhibitions include 7 Mercosul Biennial, Grito e escuta [Shouting and Listening], Porto Alegre, Brazil (2009); MDE 07, Espacios de hospitalidad [Hospitality Spaces], Medell. n (2007); ES2002 Tijuana/II International Biennial, Tijuana Cultural Center CECUT (2002) and the VI Havana Biennial (1997). Her work examines the source of violence, social discrimination, and human passions.
Delcy Morelos will, during her stay in Boden, hold lectures and workshops. This program offered has the support of Iaspis, Konstnämndens international program for contemporary artists.
