NUESTRA AMERICA

nuestra america An Exhibition Proposal by Juliana Echavarria

The concept U.S. Intervention in Latin America has been prevalent since the end of the 18th century, when its power and influence took advantage of Latin America’s post-colonial state. In fact, throughout the course of the 20th century, the United States has continued to use Latin America as its laboratory, or even, as some claim, its backyard. Massive amount of intervention have taken place through economic, military and political means and, for some reason, the south has been rendered as less developed than the north. Consequently, these ideas have influenced each of these countries’ societies and corresponding cultural production. In many ways, some may even claim that the United States has influenced Latin America to the extent where it has blurred the lines of the frontiers what once divided us. And Latin Americans have reacted to that. Nuestra America intends to depict how the constant presence of the U.S. has shaped Latin American social fabric, and its corresponding effects on contemporary Latin American Art. Contemporary art. Examples from Cuba, Mexico, Puerto Rico, The Dominican Republic, Guatemala, El Salvador, Panama, Colombia, Peru, Chile and Uruguay help demonstrates how these countries prevalent themes of immigration, consumption, labor, race and identity all have one thing in common: they are associated to the U.S’ presence and, shared amongst themselves. The exhibit shows how Latin America does not only share a history of violence and colonialism within its own territories, but also of intervention. Nuestra America intends to show the other side of the coin, the “other” America, the one we tend to ignore when we say, “I am American.” It highlights a history we decide to look away instead of confronting. We need to face it; we need to face it in order to change, in order to understand that Latin America is not our backyard or our laboratory. That we are merely neighbors.

branding

NUESTRA AMERICA

August 19 - December 13, 2016 Solomon R. Guggenheim Museum

implementation

38.8833째 N, 77.0167째 W

cuba

23.1333째 N, 82.3833째 W

alexis leiva machado La Havana, Cuba 1970

No Agradescan el Silencio (Donâ&#x20AC;&#x2122;t be Grateful for the Silence), 2014, installation that repilcates the jail El Hueco where five cubans were encarcelated injustly

38.8833째 N, 77.0167째 W

mexico

19.0000째 N, 99.1333째 W

hector zamora Mexico City, Mexico 1974

Delirio Atropico, 2009, 14000 kg of plaintains in the Edificio Moncerate in Bogota, Colombia

Betsabee Romero Mexico City, Mexico 1972

Exodus, 2007, color photographs

Minerva cuevas Mexico City, Mexico 1974

Del Monte, 2003, Acrylic mural

Carlos Amorales Mexico City, Mexico 1970

Black Cloud, 2011, laquer paint and wax varnice

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Puerto Rico 18.4500째 N, 66.1000째 W

Karlo ANdrei Ibarra San Juan, Puerto Rico 1982

From left to right: Equipaje (Baggage), 2013, stone Gobierno Resbala (Slippery Goverment), 2001, Silkscreen on plastic

Karlo ANdrei Ibarra San Juan, Puerto Rico 1982

Remanentes, 2011, bananas tatooed with phrases related to the effects of the free commerce treaties (TLC) between the Carribean and Central American countries with the USA

38.8833째 N, 77.0167째 W

Republica Dominicana 19.0000째 N, 70.6667째 W

Joiri minaya Santo Domingo, Dominican Republic 1990

Canela Ika. â&#x20AC;&#x2DC;n/e/.lal, 2014, postcard and performance LISTEN TO THE SOUNDTACK

Joiri minaya Santo Domingo, Dominican Republic 1990

Desgrato, 2014, acrylic, stencil lonoleum printed paper and wood

Joiri minaya Santo Domingo, Dominican Republic 1990

Siboney, 2014, performance, video and acrylic mural WATCH AN EXERPT

38.8833째 N, 77.0167째 W

Guatemala 14.6333째 N, 90.5000째 W

Plinio Villagran Cuidad de Guatemala, Guatemala 1979

Atlas Poliptico, 2013, color photograph and collage

Plinio Villagran Cuidad de Guatemala, Guatemala 1979

Atlas Poliptico, 2013, color photograph and collage

Fernando Bryce Cuidad de Guatemala, Guatemala 1982

From Left to right: Guatemala, 2002, print Banana Business, 2004, print, part of the series of drawings Americas

38.8833째 N, 77.0167째 W

El SAlvador 13.6667째 N, 89.1667째 W

ernesto bautista Santa Ana, El Salvador 1987

From Left to right: Masas, 2009, lighter filled with blood Nuevas Promesas, 2013, intervention project on truck containers the border to the US

38.8833째 N, 77.0167째 W

Panama

8.9667째 N, 79.5333째 W

Donna Conlon Panama City, Panama 1966

From left to right: Estacion Seca (Dry Season), 2006, video 2’02”, WATCH Efecto Domino (Domino Effect), 2013, video 2’02”, WATCH

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COLOMBIa 4.5833째 N, 74.0667째 W

Antonio Caro Bogota, Colombia 1954

Colombia Coca-Cola, 1976, enamel over aluminum, 39.37 x 30â&#x20AC;?

Nadin ospina Bogota, Colombia 1960

From left to right: Tio Rico, 2012, stone Idolo con Mu単eca, 2006, stone

Jose alejandro Restrepo Paris, France 1959

Musa Paradisiaca, 1996, installation of bananas and video

wilson diaz Pitalito, Colombia 1963

Jardines de Coca en Cali, 2003, C-Print

Carlos motta Bogota, Colombia 1978

Brief History of US Interventions in Latin America Since 1946, 2014, inkjet print Image on screen print based on a photograph by Susan Meiselas of the White Hand signature left by a Salvadorean death squad on the door of a slain peasant leader

38.8833째 N, 77.0167째 W

Peru

12.0433째 S, 77.0283째 W

David zink yi Lima, Peru 1973

The Strangers, 2014, video 4â&#x20AC;&#x2122; WATCH

38.8833째 N, 77.0167째 W

Chile

33.4333째 S, 70.6667째 W

Enrique ramirez Santiagio, Chile 1956

Brises, 2008, 35 mm film 13â&#x20AC;&#x2122; WATCH AN EXERPT

Alfredo Jaar Santiagio, Chile 1956

Gold in the Morning A, B, E, H 1985, light box with color transparency

Alfredo Jaar Santiagio, Chile 1956

This is not America, 1987, video stills WATCH THE VIDEO

38.8833째 N, 77.0167째 W

Uruguay

34.8833째 S, 56.1667째 W

joaquin torres Garcia Montevideo, Uruguay 1874 - 1949

America Invertida (Inverted America), 1943, ink on paper

joaquin torres Garcia Montevideo, Uruguay 1874 - 1949

â&#x20AC;&#x153;There must not be north for us, except in opposition to our south. Therefore we now turn the map upside down, and then we have a true idea of our position, and not as the rest of the world wishes. The point of America, from now on, forever, insistently points to the South, our northâ&#x20AC;?.

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