Showroom | Aruba




spaces that face each other in a triangle. Scene, audience, and time...​

In a world dominated and crowded by social media, wherein there are shortened distances, minimalized relationships, and in which privacy is devaluing, there is a very well-segmented stratification present. This stratification positions social groups according to their horizons of expectations, their cultural levels, and their capacity for development. In that sense, we could refer here to three structures within a pyramidal system established by Social Media today. In whose first level there is a two-way communication system, in which there is room for elemental relationships of friendship, affection, business, and approaches.

On the second level of this pyramidal structure, Social Media tries to establish zones of exposure of the status of Internet users; in which they can project with greater ease the forms and quality of life, the adventures, the trips, the exclusive circle of friends or the purchasing power. Many times this turns out to be screen constructions that dissimulate the reality that surrounds them.

Finally, the third level of the pyramid, the apex of it, is the comfort zone wherein those privileged in life are. In other words, those who are talented characters that generate content that is built and developed thanks to that gift they have, and those that have found through Social Media the way to project and visualize their creative thinking. These actions find their motivating impulse in the virtual and monetary reward they bring, not only because of the possibility of an in crescendo of followers and likes but also because of the opportunity they offer to many to approach the utopias and parallel realities they recreate.


as long as they can dress in silk

Revealing itself is a triangular structure, which takes shape above all at the top, where talent generates entertainment and this monetization. Three key elements that summarize the dynamics of structuring and production of contemporary art, evidencing a clear relationship between different performance scenarios: artistic production and the virtual platform. This innate or constructed talent is subject to the hyper-possibilities generated and offered by the new languages assumed by contemporary art; the new supports, the mixtures between experimentations, the new possibilities of appropriation, cooperation, and collaboration that swarm the current artistic circuit. In essence, whether it is a gateway of content production or another, they are still the same structures. The only difference is that new forms of projection have been generated.

Del polvo somos, as a virtual exhibition project anchored in the principle of Curaduría Malandra, proposes to move beyond the premises of the art system to explore niches of cultural production with sociological, anthropological, and heritage nuances. Furthermore, to appropriate shared imaginaries that are born in the social root of the pyramid and evolve to the top with a dynamic of creative realization of an international character, generating a new artistic discourse from new communication platforms.

a gap of a hundred years but with equal significance

The two examples from which this virtual exhibition has been curated are Josephine Baker and Cristina González, alias @lasicopataRD1. The first of these two was one of the icons of her time qualified as the Bronze Venus or the Black Pearl. Indeed, she was an African-American woman who impacted the world between the 1920s and 1930s in Paris with her quirky banana skirt, her agitated and expressive leg movements, and her twisted eyes. González, born in the Caribbean, is a black woman who is in action on social media nowadays. She is viralized on the virtual platform by her extravagant videos with surrealistic expressions. Her comicality has put her, like Baker at the time, at the pyramid peak of contemporary cultural production. Both of them are examples of resistance and willingness to detoxify themselves from the marginality that dominated their lives in their respective moments of vital realization. They propose new forms of enterprise for the black female subject, mainly. In an elementary sociological analysis, they turned their social reality upside down and have made their miseries and anxieties the driving force behind the creation of their spaces of realization and interaction.


that reconstructs prophecies

“…el polvo echaremos,” tries to contextualize and correlate two eras, two performance scenarios, and two well-known characters in a sort of exhibition show.
Discussing the marginal Caribbean aesthetics, or that started as marginal, and its evolution into a global trend through the visualization platform Tik Tok. One must understand this virtual space as a zone of reinsertion in which popular subjects have found a way to project their art. Tik Tok constitutes that high point in contemporaneity that allows us to understand and visualize the change of scenery: from the night environment -Baker- to the virtual environment – @LaSicopataRD1-.

The also known Queen of Potazsio, boasts in her history of creative production in Tik Tok the viralization of a series of videos that have permeated the popular layer of our society. From her witty interventions, the title we took on for this exhibition became popular. La Sicópata scrambled chapter 3, verse 19 of Genesis, in the Bible, by altering “From dust we are and dust we will be” into “From dust we are and dust we will cast.” This translocation, perhaps spontaneous, also Dadaist in nature, has placed her in a top trending worldwide, which has caused her extremely original creations, to be constantly appropriated and reinterpreted by other female tik tokers.

The added value that this Curatorship Malandra proposes, from a position of unprejudiced freshness and criticism, is to show how starting from the same proposal of artistic creation, which is different from the canons of pre-established aesthetics, the multiple subjects assume their own by reinterpretation, transformation, and recontextualization. They create their version, which is launched through the same medium Tik Tok as ready-made from a visual and auditory proposal already viralized. Here again, the three elements of that triangular structure are evident: talent = entertainment = monetization. The value of intellectual property loses its legitimacy to become a resource of conscious appropriation. Curaduría Malandra, as a host and promoter of these strategies and platforms, encourages and proposes the multiple reinterpretations of all these contents.

This exhibition proposes the means to understand and taste the change in aesthetic appreciation from other operations half a century after Josephine Baker. Procedures of production of artistic thinking based on Tik Tok, which at times may seem as unbalanced, simplistic, or not very serious. Distancing themselves from any eccentricity to weave, draw attention to and question the thin margin that exists between contemporary artistic structures of production, projection, and visualization, whatever the platform to achieve it may be.

Curator: Nelson González
Production: Zurishaddai Tremus
Source: Vladimir Jáquez, Más allá de las Redes. Chico SandyTik Tok and Film Struck

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Important Note: The use of this material, taken from the above sources, will be used only for educational, cultural, and artistic purposes. This visibility platform is generated by A Non-Profit Initiative.