{"id":42423,"date":"2016-06-23T16:22:22","date_gmt":"2016-06-23T15:22:22","guid":{"rendered":"http:\/\/www.mottodistribution.com\/site\/?p=42423"},"modified":"2016-06-23T16:22:35","modified_gmt":"2016-06-23T15:22:35","slug":"terremoto-6-dorothee-dupuis-ed-terremoto-motto-books","status":"publish","type":"post","link":"http:\/\/www.mottodistribution.com\/site\/?p=42423","title":{"rendered":"Terremoto 6. Doroth\u00e9e Dupuis (ed.). Terremoto, Motto Books."},"content":{"rendered":"

\"Terremoto<\/a>\"Terremoto\"Terremoto<\/a>\"Terremoto<\/a>\"Terremoto<\/a>\"Terremoto<\/a>\"Terremoto<\/a>\"Terremoto<\/a>\"Terremoto<\/a>\"Terremoto<\/a>\"Terremoto<\/a>\"Terremoto<\/a><\/p>\n

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The glare that a shadow can emit is evident in recent Latin American history, a history notoriously scored by oppression, violence, disappearances, and other painful secrets tossed into the gray areas of memory and to the margins of hegemonic historical accounts. In the shadow, you\u2019re protected by the invisibility of marginalization\u2014at the same time you\u2019re made vulnerable by a lack of guarantees brought about through the neglect of the dominant power. The shadows that move through us are the constant reminder of what never changes: long-standing oppression and discrimination, perpetuated all around us in a political climate of abuse and tough luck. As we name them, draw their contours and seek to resolve their enigmas, we ask ourselves to what real end do we use artistic thought to gain awareness of those shadows? Can something change? Or are those ideas mere shadow play? <\/p>\n

Pigmentocracy in Contemporary Art <\/strong><\/p>\n

Susana Vargas Cervantes looks at the work of artists Zach Blas, Colectivo Zunga, Santiago Sierra and Erick Meyenberg through the concept of pigmentocracy. \u2026 \u2014 By Susana Vargas Cervantes<\/p>\n

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COMOClube <\/strong><\/p>\n

Amilcar Packer tells the story of Como_clube in Sao Paulo, a mutant platform for artistic creation and an environment of undisciplined living which favors free movement between genres, generations, political and socioeconomic situations, fostering performance-related productions. \u2026<\/p>\n

\u2014 By Amilcar Packer<\/p>\n

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Las Nietas de Non\u00f3 <\/strong><\/p>\n

Puerto Rican artists Sofia Gallis\u00e1 and las Nietas de Non\u00f3 discuss their approach to the prison system in Puerto Rico and the cycle of poverty and racial and class discrimination that feeds it. \u2026<\/p>\n

\u2014 By Sof\u00eda Gallis\u00e1 Muriente<\/p>\n

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M\u00e9thode Room <\/strong><\/p>\n

Guillaume D\u00e9sanges talks about his experience developing the M\u00e9thode Room residency project at Archive House, within Theaster Gates\u2019 Dorchester Project in South Side in Chicago. \u2026<\/p>\n

\u2014 Guillaume D\u00e9sanges<\/p>\n

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Y\u0268s\u0268riha\u0268: Healing that rescues the shadow from genocide <\/strong><\/p>\n

Colombian artist B\u00e1rbara Santos gives an account of the making of the book Los Jaguares del Yurupar\u00ed (2015), which presents the outcome of more than 10 years of research conducted by indigenous young people from the communities of Pira-Parana in the Colombian Amazon -under the guidance of the traditional knowledge of their elders- on cultural and sacred knowledge related to the territory and its management. \u2026<\/p>\n

\u2014 By B\u00e1rbara Santos<\/p>\n

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\u00a0A discussion with contemporary Nicaraguan Artists <\/strong><\/p>\n

Mexican\u00a0curator Oliver Mart\u00ednez Kandt talks with Nicaraguan artists Raul Quintanilla, Patricia Belli, Fredman Barahona, Darling L\u00f3pez and Alejandro de la Guerra about their relation with the social, ecological and cultural urgencies of their context. \u2026<\/p>\n

\u2014 By Oliver Mart\u00ednez-Kandt<\/p>\n<\/section>\n<\/header>\n

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 <\/p>\n

\u20ac8.00<\/p>\n

Buy it<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

  The glare that a shadow can emit is evident in recent Latin American history, a history notoriously scored by oppression, violence, disappearances, and other painful secrets tossed into the gray areas of memory and to the margins of hegemonic historical accounts. In the shadow, you\u2019re protected by the invisibility of marginalization\u2014at the same time […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[12],"tags":[3029,5500,5383],"_links":{"self":[{"href":"http:\/\/www.mottodistribution.com\/site\/index.php?rest_route=\/wp\/v2\/posts\/42423"}],"collection":[{"href":"http:\/\/www.mottodistribution.com\/site\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.mottodistribution.com\/site\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.mottodistribution.com\/site\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.mottodistribution.com\/site\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=42423"}],"version-history":[{"count":5,"href":"http:\/\/www.mottodistribution.com\/site\/index.php?rest_route=\/wp\/v2\/posts\/42423\/revisions"}],"predecessor-version":[{"id":42440,"href":"http:\/\/www.mottodistribution.com\/site\/index.php?rest_route=\/wp\/v2\/posts\/42423\/revisions\/42440"}],"wp:attachment":[{"href":"http:\/\/www.mottodistribution.com\/site\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=42423"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.mottodistribution.com\/site\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=42423"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.mottodistribution.com\/site\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=42423"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}