La Sublevación de la Máscara. El Motín Iconoclasta / The Uprising of the mask. The Iconoclastic Riot
2012 – 2016
La Sublevación de la Máscara. El Motín Iconoclasta
(The Uprising of the mask. The Iconoclastic Riot)
Photography
Exhibitions:
Fazakas Gallery (2013 – 2019) Vancouver, BC, Canada.
Sur Gallery (2019) Toronto, On, Canada.
The Uprising of the mask. The Iconoclastic Riot, are symbolism of a resistance gaze, folds were is appreciate the characteristic of tenacious struggle for the de-anthropologizing the Mayan textile traditions. Inside the Guatemalan belts, exist an active worldview, and where the touristic value as merchandise, dislocate and barroquiza concepts like tradition and culture. This series of photographs responds to the resistance of the people in Latin America to maintain and preserve social traditions, local cultures, and, at the same time, the uprisings to sustain Latin American cultures and Indigenous Latin American roots alive.
The observer is confronting to the gaze, visible or not, in the mask as a frontal respond. There is not an individual behind the mask; there is a whole pluralistic framework, didactics of defense, and identity liberation behind the mask; the struggle is of all. Political, cultural, and religious oppression over Indigenous cultures across Latin America generates alienation, isolation, and deterritorialization in the structure of societies and their local heritage and lands.
These photographs recover the meaning to fight for local heritage, the possibilities to expand local cultural diversities, and to perpetuate social developments in Latin American. The uprising of the mask represents Latin American cultural insurrection. The iconoclastic riot symbolizes the struggle of society and the effort to forge new Latin American perspectives from the inside out. These perspectives aspire to reclaim identity, individuality, and independence in culture, politics, and arts throughout Latin America.
The Uprising of the mask. The Iconoclastic Riot, presents images of proximity or rejection that allow to the observer destroy or reinforce the cult of the baroque image as objects of consume and exploitation. The belt becoming a mask makes available the trans-historical connection, the relations between the historical and the modern evolving in Latin America.
