ExhibitionMay 16, 2022
Without Footprint by Gina Arizpe
Until July 3, the Museo Universitario del Chopo presents the exhibition "Sin Huella" by Gina Arizpe.
"Without Footprint" presents works from the last ten years of Gina Arizpe's production. The artist seeks and questions the physical and social limits to which the body is subjected in contemporary societies, such as femicides, migration, labor effort, and forced disappearances, among other issues. A constant in the works gathered in this exhibition is the relationships and emotional ties that the artist establishes with people and the cities she inhabits.
In the series "Names and Coordinates" (2020-2022), the artist refers to gender violence in Mexico. She presents the names of women murdered in each state. The material quality of the works in this series relates to textiles, embroidery, and the interweaving of fibers as a metaphor for the country's social fabric.
"Temporary Employment (Access)" (2019-2021) is an installation that addresses the situation of people who are forced to work for criminal groups outlining their trades or jobs "on demand" as the only possibility of subsistence.
"Progress" (2019) is a video that questions the achievements of modernity and development in Mexico City since the 20th century.
"On the Street/Covered Body" (2014) is an action captured in ten photographs. The artist uses her body as a vehicle to think about social issues of historically vulnerable and vulnerable groups.
"Structural Fragility" (2021-2022) is an installation created for this exhibition and consists of 143 small houses made of cardboard. The work stems from the story of Lupita Miranda, who, before the health contingency, worked as a cleaner in the construction industry. When she became unemployed, Miranda began to make these houses to exchange them for pantries and cleaning objects in the streets.
"Without Footprint" (2013) -which gives its name to this exhibition- is the record of the artist's action in 2013 in the desert of Salamayuca, Ciudad Juárez. Based on the concept of disappearance, she walked in the desert dragging a tire tied to her waist to erase the marks of her steps in the sand.
"Without Footprint" presents works from the last ten years of Gina Arizpe's production. The artist seeks and questions the physical and social limits to which the body is subjected in contemporary societies, such as femicides, migration, labor effort, and forced disappearances, among other issues. A constant in the works gathered in this exhibition is the relationships and emotional ties that the artist establishes with people and the cities she inhabits.
In the series "Names and Coordinates" (2020-2022), the artist refers to gender violence in Mexico. She presents the names of women murdered in each state. The material quality of the works in this series relates to textiles, embroidery, and the interweaving of fibers as a metaphor for the country's social fabric.
"Temporary Employment (Access)" (2019-2021) is an installation that addresses the situation of people who are forced to work for criminal groups outlining their trades or jobs "on demand" as the only possibility of subsistence.
"Progress" (2019) is a video that questions the achievements of modernity and development in Mexico City since the 20th century.
"On the Street/Covered Body" (2014) is an action captured in ten photographs. The artist uses her body as a vehicle to think about social issues of historically vulnerable and vulnerable groups.
"Structural Fragility" (2021-2022) is an installation created for this exhibition and consists of 143 small houses made of cardboard. The work stems from the story of Lupita Miranda, who, before the health contingency, worked as a cleaner in the construction industry. When she became unemployed, Miranda began to make these houses to exchange them for pantries and cleaning objects in the streets.
"Without Footprint" (2013) -which gives its name to this exhibition- is the record of the artist's action in 2013 in the desert of Salamayuca, Ciudad Juárez. Based on the concept of disappearance, she walked in the desert dragging a tire tied to her waist to erase the marks of her steps in the sand.
