BIO
BIO
Patricia Domínguez

Patricia Domínguez, 1984, vive y trabaja en Puchuncaví, Chile. La práctica de Domínguez entrelaza mitos, símbolos y rituales con ideas de extractivismo, apropiación cultural y destrucción del patrimonio natural.

Sus exposiciones recientes incluyen: CentroCentro, Madrid; Yeh Art Gallery, New York (all 2020), Gasworks, London; Meet Factory, Prague; TEA, Tenerife (all 2019); SeMA Seoul Museum of Art, Korea; ARCO Madrid; Twin Gallery, Madrid (all 2018); Museo MAC, Santiago; Sala CCU, Santiago; CA2M, Madrid (2017); Pizzuti Collection, Ohio; Galería Patricia Ready, Santiago (2016); El Museo del Barrio, New York; FLORA, Bogotá (2013); The Watermill Center, New York (2010). Es fundadora del Studio Vegetalista, una plataforma experimental de investigación etnobotánica con sede en Santiago Chile. Her next projects will be exhibited at Es la fundadora de Studio Vegetalista, una plataforma experimental de investigación etnobotánica con sede en Santiago. Sus próximos proyectos se exhibirán en TBA21 - Thyssen Museum (2020), Gwangju Biennale y La Casa Encendida (ambos en 2021), y el Wellcome Collection (2022)

Karina Aguilera

Karina Aguilera Skvirsky es una artista multidisciplinar que trabaja principalmente con fotografía, video y performance. Actualmente es Profesora Asociada de Arte en Lafayette College, Easton, PA. De manera regular trabaja en exposiciones individuales y colectivas, ha participado en bienales como en la de Cuenca, comisariada por Dan Cameron (2016) o en la de São Paulo (2010). Ha sido beneficiaria de numerosas residencias y becas. Actualmente está produciendo"Cómo construir un muro y otras ruinas" gracias a la beca obtenida en 2019 por parte de Creative Capital. Su obra se puede ver en ferias como, ARCO Madrid, NADA Miami o PArc Lima, a donde acude regularmente con las galerías que la representan. Su obra forma parte de importantes colecciones como la Urbes Mutantes, el Whitney Museum of American Art, el SFMOMA el Art Institute of Chicago, así como numerosas colecciones privadas

Patricia Domínguez produjo Eres un Princeso en el establo Santa Leticia en el pueblo de Honda en Colombia durante 2013. Ahí registró las cercanías (emocionales, afectivas, físicas) de los caballos y sus cuidadores. A partir de estrategias narrativas, las imágenes producen nuevos híbridos que en el contexto de la finca aluden al caballo como una especie domesticada por los ejércitos colonizadores para fines bélicos y su incorporación en el imaginario indígena, el del narco y de la cultura popular.

La selección propuesta para The Backroom son diversos documentos relacionados con Eres un Princeso realizados en los últimos años que muestran los intereses de la artista en naturalezas post-humanas impregnadas de cosmovisiones multiespecies. A través de estos documentos, es evidente la plasticidad con que Patricia se apropia de tecnologías y elementos de la cultura de masas para crear relatos especulativos sobre una doble naturaleza (moderna e indígena ancestral) siempre en conflicto, pero con una intrínseca necesidad de coexistir. Asimismo, presentamos el trabajo del Studio Vegetalista, una plataforma fundada por Patricia donde se comparten las posibilidades del conocimiento etnobotánico con nociones de intercambio y producción de economías comunes. La producción del Studio Vegetalista combina el arte, la etnobotánica y cosmologías curativas y se ha consolidado en publicaciones, grupos de estudios, talleres, tatuajes y otros soportes.

Lorem ipsum dolor sit amet, consectetur adipiscing elit. Suspendisse varius enim in eros elementum tristique. Duis cursus, mi quis viverra ornare, eros dolor interdum nulla, ut commodo diam libero vitae erat. Aenean faucibus nibh et justo cursus id rutrum lorem imperdiet. Nunc ut sem vitae risus tristique posuere.

Hellen Ascoli writes—about weaving and translation—"To let my body be the place where tension meets the ground," and I imagine a lightning rod connecting languages, pulling threads. She combs, she rakes, she draws an exhibition with neon tapes across her backyard, she stacks two tree limbs in an embrace. I spend my pandemic mornings in the sand of a barren yard in the Great Plains in isolation, and the grit powders my skin and gets into my teeth. We write each other letters. Manal Abu-Shaheen sends me a cyanotype she makes, of the ship that brought her great-grandfather to Ellis Island in 1907. She sends a photograph of the sun dunking into the sea beside Beirut. We talk about the failure of language to account for the distance between here and there, especially in these anguished weeks since the explosion. Her photographs of that city were already moving indoors, but now, isolating in New York, she imagines the intimacy of photographing her friends in their homes, indoors, together. The imagining is about closeness, about touch, about longing and what is no longer here, about having a coffee and telling the stories of this particular year. Thuy-Van Vu describes how her father would plant patches of green, plants and flowers, in the sun-bleached yard of his home in Phoenix, Arizona, and how they would always die under the summer sun there. We talk about things that couldn’t be said in words. “This is the idea of a house my father built,” writes poet Diana Khoi Nguyen. Plants now cover every surface of her Seattle office and home; she feels guilty for letting one of them expire for a painting. She sends photographs from a trip to Vietnam: modest sandals in a glass case at the Museum of Fine Arts in Ho Chi Minh City are marked with dirt from an artist’s day of work. A boy sands a carved Buddha, and the wood gradually changes tones. A typed list of “useful phrases for emergencies” in Vietnamese includes “Don’t shoot!” Photographs of a helicopter made of woven grasses and a broken wooden sculpture of a tank are local thrift store finds, imported from Vietnam.

1
3d anatomy rendering, brain, 2010, stockphoto
2
Representation of the trunk and its organs. From the Hua Tuo Xuanmen Neizhao Tu , Hua Tuo's Images for Internal Visualisation According to the Mystery School), imprint published by Sun Huan in 1273 . This version of the Hua Tuo Xuanmen Neizhao Tu incorporates images of the viscera drawn by the doctor Yang Jie ( fl. 12th century), styled Jilao , in his Cunzhen Huanzhong Tu (1118).chinese, circa 1100
4
Organs of the gastrointestinal system, Bartolommeo Eustachi, 1564
5
Kaishi Hen (Analysis of Cadavers), an anatomical atlas from the dawn of experimental medicine in Japan, published in Kyoto in 1772. The book details, in exquisite woodcut illustrations by Aoki Shukuya (d. 1802), the experiments and findings of Kawaguchi Shinnin (1736-1811), Edo-period Japan, 1603-1868
7
digestive system, Verheyen, flemish, Corporis Humani Anatomia, 1710
8
Kaishi Hen (Analysis of Cadavers), an anatomical atlas from the dawn of experimental medicine in Japan, published in Kyoto in 1772. The book details, in exquisite woodcut illustrations by Aoki Shukuya (d. 1802), the experiments and findings of Kawaguchi Shinnin (1736-1811). Edo-period Japan, 1603-1868
9
3d anatomy rendering, digestive system, 2011, stockphoto
10
3d anatomy rendering, brain, eye, 2010, stockphoto
11
Wilhem ten Rhyne 'Dissertatio de Arthritide: Manissa Schematica: de Acupunctura', Dutch,17th century. Original first-hand published account of eastern medicine and introduced the western world to the concept of acupuncture, 1683