The history of art and new technologies has shown us that the images we perceive have no meaning if they are not contextualized. In other words, the images we live with every day are always showing us something, inviting us, indoctrinating us, entertaining us, or, in the worst case, repelling us.
The history of art and new technologies has shown us that the images we perceive have no meaning if they are not contextualized. In other words, the images we live with every day are always showing us something, inviting us, indoctrinating us, entertaining us, or, in the worst case, repelling us.
The goal of artist Liliana González's project "Hay tela por cortar" is to bring to light the construction and imaginary we build of the body through the images we consume or produce, and the discourses we derive from our notion of gender.
Starting in the 1960s, the arts, literature, academia, and women activists took it upon themselves to point out to the world the various social and cultural conditions under which the image of the feminine had been made visible, with the intention of proposing a change in perspective and in the conditions for intervention across different spaces of participation and decision-making.
"Hay tela por cortar" proposes, through pictorial work, an analysis of the spaces inhabited and the roles iconographically attributed to women and men, putting forward a new canon built from a reconstruction of stereotype and cliché. It likewise calls into question the ever-current discourse on gender.
The exhibition will be open to the public from September 3 to 14 at the Sala de Proyectos Bicentenario (SPB2) of the MAC.
Santiago Rodríguez y Juan David Quintero