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Marvin Touré
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Isla Hansen
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Andrea Peña
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Asim Waqif
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Shohei Katayama
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As Below, So Above
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Marta María Pérez-Bravo

They Are Not Mine Series

This play is a reflection on the (im)possibility of accepting diversity and the other. The fragmented body of the neoplasm—the fruit of unstable conditions—overcomes barriers, loves and denies itself and others, wanders around, forgetting its profession. It frequently and with pleasure divides, goes through dangerous palpation, questions the possibility of contact with the experience of the other. Poorly brought up but very successful, it invites us to a trans-species transition.

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In They Are Not Mine Series, Pérez Bravo superimposes pictures of other people over her own image. These early-twentieth-century photographs depict individuals convicted of crimes that were often related to Afro-Caribbean religious practices, and all of the people in the photos are black. According to Juan Antonio Molina, a world-renowned specialist in contemporary photography, “By placing the photos of these blacks over her own image, Marta María has experimented with a fusion of different identities, which is also a fusion of the multiple marginalities of these subjects—dead, criminal, practitioners of Afro-Cuban religions, and black.”

Curated by Alejandro De La Fuente

When

2010

About The Artist

Marta María Pérez-Bravo studied at the Instituto Superior de Arte and later at the Academia de Artes Plásticas “San Alejandro,” both in Havana and is best known for her small format black and white photography. Central to Pérez Bravo’s photographs are the beliefs of Santería, an Afro-Caribbean religion that combines the Yoruba religion (brought to the Caribbean by slaves imported to work on sugar plantations) with Roman Catholic and Native Indian traditions. Santería teaches that spiritual power exists in all things, even everyday objects. Thus, Bravo seeks to convey through her photography the divine nature of all things—from familiar objects like rope and branches to her own body.

In They Are Not Mine Series, Pérez Bravo superimposes pictures of other people over her own image. These early-twentieth-century photographs depict individuals convicted of crimes that were often related to Afro-Caribbean religious practices, and all of the people in the photos are black. According to Juan Antonio Molina, a world-renowned specialist in contemporary photography, “By placing the photos of these blacks over her own image, Marta María has experimented with a fusion of different identities, which is also a fusion of the multiple marginalities of these subjects—dead, criminal, practitioners of Afro-Cuban religions, and black.”

Curated by Alejandro De La Fuente

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