{"id":8706,"date":"2021-09-25T07:43:19","date_gmt":"2021-09-25T11:43:19","guid":{"rendered":"https:\/\/elpranprojecten.com\/?p=8706"},"modified":"2021-12-27T10:50:17","modified_gmt":"2021-12-27T14:50:17","slug":"other-sciences","status":"publish","type":"post","link":"https:\/\/elpranprojecten.com\/es\/other-sciences\/","title":{"rendered":"OTHER SCIENCES"},"content":{"rendered":"\t\t
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Showroom | Guatemala<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Regina Jos\u00e9 Galindo and other sciences<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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EL PRAN Projecten. Curatorial operation <\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Other Sciences<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Regina<\/strong> Jos\u00e9 Galindo and other sciences<\/b><\/span><\/p>

Her Guatemalan condition is one of the essential generators of the artistic practice developed by Regina Jos\u00e9 Galindo. She comes from the poetry and literature department, which she consciously mixes with her performance projection, becoming one of the most emblematic Latin American artists of her generation in the fields of performance, action art, and testimonial. Regina became a performer who resorts to the purity of diverse media for her interventions, respects each one conscientiously, and implements an intrinsic relationship by turning poetry into an essential part of the performance and vice versa, generating both visual and oral poetry through her works.\u00a0<\/span><\/p>

Guatemala: mirror of the world. Each puddle with its dramas<\/span><\/strong><\/p>

The cultural and historical horizon of her native country, Guatemala, marked a starting point for her since the end of the nineties. It was a result of the repercussions of the peace treaties. Thenceforth the geopolitical aspect became a precedent for projects combining research, performance, poetry, and science. In this way, he alludes to the concepts of racial and gender discrimination, to political and social conflicts in his country that, in turn, find points of contact with global problems of all societies.\u00a0<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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El Gran Retorno <\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Galindo stands out from that geocultural and geopolitical environment in which she unfolds to project herself as the bearer of voices, experiences, memories, and testimonies of the vulnerable subject. As the one who in any context was bound to the fundamental sense of pain, joy, disillusionment, illicit legislation, fear, faith. Therefore, she becomes a performer and spectator, author, and anonymous of the same process. Galindo intervenes in the public space and the historical memory from her body. Through it, with manifest rage, she articulates and evidences the problems and disabilities of her context. Her body becomes a complementary part of this performative and testimonial praxis developed by her. She is a witness and victim of the event and invites us to participate in its performativity.\u00a0<\/span><\/p>

Regina Galindo’s work involves an urgency that derives from the generation of an essential, reflexive statistic. Her work Combustible is an example of this. In the city of Santo Domingo, in the Dominican Republic, eight immigrants of Haitian origin push a collective cab during their routine, without gasoline. For this, she has assumed a particular social group to exercise the action as an integral part of her practice. She reveals herself as the intellectual author of the process, perhaps as the victimizer subject who subjugates the “other.”. She thus evidences continued exploitation of immigrants seen as the supposed driving force for society to move forward. At this point, Regina lends her body as the articulator of a hegemonic action while her authorship dilutes. She drifts towards anonymity and becomes part of the orchestration of the performance.\u00a0<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Guatemala Feminicida<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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The element of surprise in its imprint is always implicit in her work. Her work generates the relationship between the author\/performer of the action and the witness. Based on these dynamics, she conceives situations that do not discriminate geopolitical or cultural axes. But they do sentence, question, and point out the evils that drag today’s societies.\u00a0<\/span><\/p>

Galindo uses technical and scientific expertise as an articulating accompaniment to her interventions. In Pol\u00edgrafo, she submits herself to a test based on a system of questions and answers, from which she obtains a negative result. By exposing herself to extreme situations of physical and mental stress and pressure. In this way, she makes visible the effects of violence and power structures on the subjects.\u00a0<\/span><\/p>

Her proposals are born of pain and courage, hence why she defends and sentences through her artistic operation. With La Verdad, he revives, through performance and words, the stories of survivors of the guerrilla attacks that Guatemala suffered during 36 years. While a dentist bursts into her mouth and anesthetizes her little by little, continuously, Regina reads these testimonies of the victims of the war conflict.\u00a0\u00a0<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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The mistreatment of her body as a collective body is also present in Marabunta, a performance that consisted of a score of men violently invading her car, with her inside, and dismembering it until it was entirely reduced to scrap, to the useless, to functional nothingness. Portraying her as just another object. She is objectified and belittled by a collective representing the macho system of power that persists stable and strong.<\/span><\/p>

As support for the intervention, her projection links to the technical implementation of an auxiliary science. Regina resorts to the plastic surgeon, who reconstructs the hymen to return to virginity. It awakens unclean desires, illegal buying and selling, and deaths in many cases. Undoubtedly, she is an artist in continuous resistance. Bringing together multiple terrains to denounce, awaken and raise awareness through performance, the resource of the voice, and scientific power.\u00a0<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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