“Returning the Gaze, with a Vengeance”. The New York Review of Books.

By Esther Allen In 1974, after a decade of life under military dictatorship, a Brazilian artist named Anna Bella Geiger made a video that runs sixteen minutes, eighteen seconds. It shows her head and upper torso against a white wall. Early on, she’s holding a white cat, but at some point, it jumps out of frame. Her expression is neutral, maybe a bit tired. Her eyes don’t seduce or challenge the camera. Other artists, her contemporaries, made images of themselves with their faces masked in plastic, enclosed in netting, covered in toothpaste, wearing a penis-shaped fake nose, or with strange …

“El final de un ciclo en Casas Riegner.” Revista Arcadia.

‘Apología a lo perecedero’, una muestra del trabajo de María Fernanda Cardoso y Danilo Dueñas, es la última del ciclo expositivo TIMELINE. Abre el 14 de febrero. Desde el año pasado, la galería Casas Riegner se ha preguntado por su historia. Con el ciclo de exposiciones TIMELINE, que se inauguró en …

“Maria Fernanda Cardoso: Mestizaje”. Artlink.

By Djom Mundine. After experiencing your MCA Artbar work, I asked if you were Amerindian? You said that you don’t claim this status but are of mixed descent (mestizo). In Australia the term half-caste is taken as an insult. Can you explain how being mestizo works in Colombia? Most of …

“Dismembering the member: rethinking sexual difference in Maria Fernanda Cardoso’s exhibition’ It’s not size that matters, it is shape’”.

by Lara Stevens Abstract When the genome mapping of human sex chromosomes was completed in 2005, mainstream media reports on the findings claimed that the science provided evidence that women were a ‘different species’ to men. Many responses to the findings interpreted the research in ways that reinforced traditional patriarchal …

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