July 11, 2024—January 12, 2025
Nancy and John Lindahl Gallery
This exhibition, curated by Xavier Tavera and Dougie Padilla, brings together fifteen Latine visual artists from across the diaspora to consider the significance of blood as a material foundation of life, a carrier of complex lineages, a signal of violence and death, and a cultural and spiritual symbol of sacrifice and atonement. Despite its potency, its concealed fluidity in our bodies helps us disregard its significance.
Featured artists look unflinchingly at the contradictions this vibrant red liquid reveals. Blood is evidence of the interwovenness of homeland and diaspora, of life and death, and of humanity and inhumanity. It speaks to the violence of borders that cross over communities and people in a time of strong anti-immigrant sentiment. It speaks to the devastating ongoing effects of the Spanish colonial racial caste system based on different blood “mixtures.”
As it flows through bodies, blood also carries knowledge of linkages, some strong as an iron cable and others frail as a strand of hair. For featured artists, the complexity of these venations opens intimate conversations about culture, ancestry, heritage, hierarchy, immigration, gender, and personhood.
Hilo de la Sangre is organized with Grupo Soap del Corazón, an ever-evolving artist collective founded by artists Xavier Tavera and Dougie Padilla in 2000. Over the course of its more than twenty-year history, Grupo has resisted formalization and categorization but stayed true to its roots, continually supporting Latina, Latino, and Latine artists, particularly those of the Upper Midwest, and pushing for engagement with complex and difficult topics.
Featured artists:
Betty Árbol, Nancy Ariza, Ricardo Bennett-Guzmán, Carlos Castro Arias, Luis Fitch, Julia Garcia, Martin Gonzales, Rigoberto A. González, Roberto Lopez-Rios, Emily Luna, Dougie Padilla, Marcela Rodríguez Aguilar, Alonso Sierralta, Maria Cristina (Tina) Tavera, Xavier Tavera.
Events:
On Thursday, August 1, 2024, come to the M for an opening reception from 6:00—8:00 p.m. and enjoy a first look at the exhibition. RSVP here!
On October 13, 2024 , join Dr. Karen Mary Davalos as she moderates a panel discussion with exhibiting artists from 1:00—2:00 p.m.
Betty Árbol, Cd. Juarez (1987). Egresada de la Lic. en Diseño Gráfico de la Universidad Autónoma de Cd. Juárez. Su trabajo denota un marcado interés por la cultura popular y por aquellas figuras icónicas del mundo del espectáculo, crea narrativas relacionadas con el origen y la evolución de las especies fundamentándose en el imaginario de la figura femenina estereotipada.
Igualmente hace énfasis en la gráfica que existe en el contexto fronterizo entre Mexico y Estados Unidos. Mediante el dibujo, la pintura y la escultura busca revivir y mezclar la cultura popular mexicana en conjunto con la cotidianidad en la frontera.
Betty Árbol (left to right)
Cd. Juárez, 2023
Prismacolor on paper
Electrodomésticos, 2022
Prismacolor on paper
Courtesy of the artist
Read More
As a queer Mexican woman, Betty Árbol’s identity impacts every aspect of her life and work. Informed by her own lived experiences and observations, she walks through towns near the US-Mexico border and takes photo documentation of daily life. Mexican popular culture, advertising, and politics become part of a mental collage with the objects, clothing, and people drawn directly from the photos.
As she translates the collages from her mind through drawing, Árbol pays particular attention to the way bodies are idealized and commodified for sexual gratification. Her highly detailed work weaves together the mythology of border towns with tangible elements of the reality of living in these places.
Español
Toggle Content goes here
Betty Árbol
Estética unisex elba esther, 2019
Pen on pañuelo (handkerchief)
Courtesy of the artist
Betty Árbol
cdmx, 2022
Prismacolor on paper
Courtesy of the artist
Nancy Ariza is a Minnesota-based Mexican American printmaker, educator, and arts and cultural engagement organizer. In her studio practice, Nancy explores themes of intergenerational relationships, storytelling, and memory as a means to understand and honor her Mexican American identity and highlight shared experiences among second-generation immigrants. She combines traditional and experimental printmaking methods with textile techniques. Nancy has exhibited across the United States in group shows at Blanc Gallery in Chicago, IL; Janet Turner Print Museum at California State University in Chico, CA; Klemm Gallery at Siena Heights University in Adrian, MI; among others.
Nancy Ariza
Sangre Piteada 2, 2024
Woodcut and dry pigment screen print on cotton fabric
Courtesy of the artist
Read More
In this series, Nancy Ariza combines her family’s artistic traditions with experimental printmaking techniques to contemplate her identity as a Mexican American and second-generation immigrant. Ariza’s ancestors were horse owners from Quebrantadero, Morelos in central Mexico. They also specialized in embroidering geometric patterns on leather horse saddles through a method called piteado.
The patterns used in piteado are rooted in Indigenous knowledge and belief systems. The stair steps and spirals in Ariza’s Sangre Piteada, for example, reference the rising and setting of the sun. She interweaves these patterns and increases their formal complexity through play with positive and negative space, mirroring, and symmetry. In her words, “I use this as a metaphor for my identity as Mexican American, simplified by a label, yet complex and nuanced by my lived experience.”
Nancy Ariza
Sangre Piteada 3, 2024
Woodcut and dry pigment screen print on cotton fabric
Courtesy of the artist
Replica II
“In ‘Replica II’, I invite viewers to traverse the liminal spaces between memory and myth, reality and imagination. This digital media piece is a journey through the landscapes of our minds, where personal and collective histories are part of the tapestry within us all. It is a reflection on how memory, like blood, connects and defines us, yet remains subject to the perception of space and time that reshape and distort with each passing generation.”
“Replica II” delves into the concept of memory as a lineage, intertwined with the fluid and often elusive nature of our recollections and inherited narratives. It is an exploration of the unreliability of memory juxtaposed with the enduring traces of bloodline. Scenes of childhood memories and traces of lineages are presented in small fragments of time that search for our most enduring memories. This piece invites us to reflect upon our own experiences and what makes us be who we think we are.
It is a digital life-map where each location triggers audio-visual narratives that blend real and imagined memories related to culture, violence, and migration.
Ricardo Bennett-Guzmán
Replica II, 2024
Digital, 9 minutes
Courtesy of the artist
Read More
The artist invites viewers to traverse the liminal spaces between memory and myth, reality, and imagination. This digital media piece is a journey through the landscapes of our minds, where personal and collective histories are part of the tapestry within us all. It reflects on how memory, like blood, connects and defines us, yet remains subject to the perception of space and time that reshape and distort with each passing generation.
Replica II delves into the concept of memory as a lineage, intertwined with the fluid and often elusive nature of our recollections and inherited narratives. It is an exploration of the unreliability of memory juxtaposed with the enduring traces of bloodline. Scenes of childhood memories and traces of lineages are presented in small fragments of time that search for our most enduring memories. This piece invites viewers to reflect on what makes us be who we think we are.
It is a digital life-map where each location triggers audio-visual narratives that blends real and imagined memories related to culture, violence, and migration.
Carlos Castro Arias, is Colombian artist, professor and musician. His practice departs from the appropriation of historical images and the formal and symbolic re-contextualization of found objects. Castro’s work explores elements of the individual and collective identity and aims to bring to light muted histories and ignored points of view. He received a BA from the Universidad Jorge Tadeo Lozano, Bogota, in 2002; in 2008 he attained a Fulbright Scholarship to go to the San Francisco Art Institute, where he got an MFA in Painting in 2010. Castro currently works as an associate professor at San Diego State University.
Castro’s artwork has been featured in museums and galleries in Bolivia, Brazil, Colombia, France, Mexico, New Zealand, Peru, Spain, Sweden, the United States, and Venezuela. Some shows include: Remorses and Other Maladies at Bread and Salt San Diego (2021); I Came to Set the World on Fire at Artpace, San Antonio (2020); Ires y Venires at Casa Republicana, Biblioteca Luis Ángel Arango, Bogotá, Colombia (2020); Under Construction, Latin American Narratives (2019) at Casa Fugáz in Lima, Peru; Gótico Tropical (2017) at Passerelle Centre d’art contemporain in Brest, France; OpenARTBiennale in Örebro, Sweden (2017). Space To Dream Auckland Art Gallery, New Zealand (2016); X Mercosur Biennale. Porto Alegre Brazil (2015); O que seria do mundo sem as coisas que não existem? Frestas Trienal. Sorocaba Brazil (2014).
Castro has participated in Art residencies like Artpace, San Antonio (2020), Art Omi, Maine (2012) and Skowhegan NY (2010), among others. Some distinctions include: University Grant Program San Diego State University (2018, 2017 and 2015); Cisneros Foundation Grants and Commissions (2016); Artist nominated to the Luis Caballero Prize (2013). Colombia Fulbright Scholarship (2008)
His musical projects include: POPO (2000), Los Claudios de Colombia (2005-2010) and Amor Negro (2020).
Carlos Castro lives and works between San Diego, Tijuana, and Bogota
Carlos Castro Arias
Tío (Uncle) Fragment of a Gonzalo Jimenez de Quesada sculpture, intervened with beads using symbols of the Inga culture from Putumayo, Colombia, 2021
Resin and plastic beads
Courtesy of the artist
Read More
This sculpture represents a fragment of a Gonzalo Jiménez de Quezada sculpture covered with beads that represent symbols of the Indigenous Inga culture of Colombia’s Putumayo.
Carlos Castro Arias
Subtraction and Penetration, 2021
Human teeth on corn cobs
Courtesy of the artist
An internationally renowned Mexican artist, mentor, and creative entrepreneur specializing in visual art and working across gallery and urban art settings. His artistic repertoire encompasses various mediums, including screen prints, stencils, stickers, masking film illustrations, wheat paste, collages, sculptures, posters, paintings, and murals.
Luis’s artwork has garnered widespread recognition both nationally and internationally. His art pieces are featured in over 380 private and institutional collections throughout the United States, Europe, Dubai, Mexico, and Latin America, including prestigious institutions such as the Cooper Hewitt, Smithsonian Design Museum in New York, the Minneapolis Institute of Art in Minneapolis, the Minnesota History Museum in Saint Paul, the National Museum of Mexican Art in Chicago, The City of Albuquerque, National Hispanic Cultural Center, and the Tamarind Institute.
Luis proudly holds distinctions such as the revered AIGA MN Fellowship. Beyond his accomplishments, Luis frequently imparts his wisdom and insights at creative conferences and prestigious universities internationally. Through captivating lectures, he intricately weaves the threads of art, design, and commerce, inspiring aspiring minds to explore the dynamic intersection of these domains.
Luis’s creative journey continues to evolve, marked by recent milestones that underscore his indomitable spirit. Notably, he was commissioned to illustrate four stamps for the United States Postal Service, a testament to the profound impact of his artistry on a national scale. Additionally, Luis crafted the first-ever art collection by a Mexican artist for Target stores, commemorating the revered Día de Muertos (Day of the Dead) tradition. His involvement as the Commission Chair of the State Flag and Emblem Redesign, appointed by the Minnesota Council on Latino Affairs, further exemplifies his dedication to shaping cultural narratives.
Luis Fitch’s legacy transcends barriers, cultivates cross-cultural connections, and infuses design with meaning and purpose. His relentless commitment to bridging divides through his creative endeavors inspires the world—a testament to the enduring power of art and design to foster unity and understanding.
Luis Fitch
Perished, 2024
Mixed media on canvas
Courtesy of the artist
Read More
In the style of Picasso’s large-scale anti-war painting Guernica (1937), Luis Fitch’s Perished illuminates the atrocities of war in occupied Palestine. By referencing Picasso, Fitch conveys both the unchanging nature of war and the immediate reality of the current conflict. The same dove that Picasso used as a symbol of peace lies dead in the center of the two panels. Fitch makes the mother a central figure, and her dead baby hangs limply from her arms.
The gray tone of the work is meant to feel cold and heavy, like concrete. Fitch connects Palestine, Mexico, and Minneapolis by incorporating milagros from Mexico City and ash from Lake Street that he gathered in the aftermath of the 2020 anti-racist uprisings. Milagros, according to the artist, are requests for small miracles, placed here in the vacant windows of destroyed buildings.
Julia Garcia (b. 1992, Born in Pompano Beach, FL, USA) received her BFA from the School of Visual Art in 2014 and her MFA in 2016 from the Hoffberger School of Painting at Maryland Institute College of Art. Garcia had her first institutional solo exhibition in 2023 at NW9 in Cologne, Germany. Other solo exhibitions have been held at Gaa Gallery, New York, NY; Night Club Gallery, St.Paul, MN; King Abdullah University of Science and Technology, Thuwal, Saudi Arabia; Lazarus Center, Baltimore, MD; Galeria Fran Reus, Palma de Mallorca, Spain; and Gaa Gallery, New York, NY. Garcia has been included in recent group exhibitions at Hair + Nails, Minneapolis, MN; Gaa Gallery, New York, NY; Night Club Gallery, Minneapolis, MN; and O’Flaherty’s, New York, NY.
Julia Garcia
Diver, 2023
Acrylic, ink, and dye on canvas
Courtesy of the artist
Read More
On raw, wet canvas, Julia Garcia connects her work to the wetlands of the Everglades with a collage like application of paint, ink, and dye. The relationship between material and the landscape where she grew up is dominated by water, which historically has been artificially engineered for urban development but retains its encompassing permeability. Water can be shaped by external restraints but maintains its flow and memory. Reflecting on the violent origins of seemingly innocuous traditions and a found photo of a nighttime bow-fishing excursion in south Florida, Garcia’s work is reminiscent of the blurred memories of family vacations and emphasizes the relationship between humans, kinship, and the environment.
Julia Garcia
Mirage, 2024
Acrylic, ink, and dye on canvas
Courtesy of the artist
Raised in Tx, Martin Gonzales is an interdisciplinary artist currently based out of North Adams, MA. He uses his practice as a raft to traverse life as it keeps moving forward in all its ways.Recently he recently showed at Silverwood Park as a solo exhibiting artist and was a 2023 MA Statewide grant recipient through MASS MoCA’s A4A program. He has an upcoming exhibition in 2025 at Dallas Contemporary.
Martin Gonzales
Untitled, 2024
Steel
Courtesy of the artist
Read More
In the artist’s words, “The ouroboros, the serpent eating its own tail, is a symbol of eternal rebirth and death. The two require one another.” As the artist navigates his relationship to self, community, and power, this symbol rises out of the sea of thought as an object of reflection. The juxtaposition of the flexibility of the serpent with the rigidity of its scales relates to the fluidity of his sculpture and the structure of their materials.
Born in 1973 in Reynosa Tamaulipas, Mexico, Rigoberto lives in Edinburg, Texas He holds a B.F.A. from The University of Texas at Pan America in 1999 and an M.F.A. from the New York Academy of Art in 2004. He currently teaches drawing and painting at the University of Texas Rio Grande Valley. Gonzalez’s work has been exhibited at the Smithsonian National Portrait Gallery, Washington, DC, the Konsthallen Bohuslan Museum, Uddevalla, Sweden, The Museum of Contemporary Art Branch of the National Museum in Wrocław, Poland, The Guildhall Art Gallery, London, England. Rigoberto has participated in artist residencies at the Roswell Artist Residency, Roswell, New Mexico and at the Santa Fe Art Institute Artist Residency Program, Santa Fe, New Mexico.
Rigoberto A. González
Familia de immigrantes verada en el monte del Sur De Texas (Immigrant Family Stranded in South Texas wilderness), 2024
Oil on linen
Courtesy of the artist
Read More
In a dramatic and highly emotive style of Baroque painting, Rigoberto A. González re-envisions compositional details from mythological scenes—such as the death of Apollo, and the discovery of Orpheus’ head—to create imagery reflecting on the complexities of the US-Mexico border. He connects the visual vernacular of the Baroque to the dramatic lives of normal people who live near La Frontera, the border. The complexities of immigration, the war on drugs, and the confluence of Mexican and American culture have created a landscape that he believes is, symbolically, neither Mexico nor America but an amorphous place in between.
Rigoberto A. González
Para Que Aprendan A Respetar (So That They Learn to be Respectful), 2023
Oil on linen
Courtesy of the artist
Rigoberto A. González
Alegoria De La Frontera (Border Allegory), 2023
Oil on linen
Courtesy of the artist
Roberto Lopez Rios
Cuestionando la fe, 2024
Black and red pen, white charcoal, and gesso on paper
Courtesy of the artist
Read More
After being sentenced to life in prison at sixteen years old, Roberto Lopez Rios says “…throughout my experience, it was the love my mother showed me and her actions that laid the foundation that held me down.” Lopez Rios served twenty-three years in prison. Informed by his experiences on the inside, he and his childhood friend Avra Anagnostis founded “Juvenile Sentencing Reform MN,” an organization that advocates for the end of sentencing juveniles to life without parole. Lopez Rios was released a year after Minnesota’s Heinous Crimes Act was amended in May 2023.
Cuestionando la fe was created during the process of the hearing for his release and represents the generations of powerful Mexican women that have shaped his belief system. Although he may sometimes falter, as represented by Santa Maria de Guadalupe’s facelessness and the men turning their backs on her, he knows that she laid the foundation for Mexico and Mexican people the way that his mother, Julia, did for him. Women, he emphasizes, are sacred and valued.
Emily Luna was born in Round Lake Park, Illinois to two Mexican immigrant parents in 2001. In 2023, she received her Bachelor of Arts in Studio Art from Carleton College, where she studied ceramics, printmaking, and interdisciplinary approaches to art making. Inspired by her upbringing and identity, she draws from Mexican working-class aesthetics and Catholic imagery to make art brimming with layers of pain, joy, pattern, and color that clash and overlap. She currently lives and works in Omaha, Nebraska.
Emily Luna
Untitled (sacred heart: julio), 2023
Earthenware, underglaze
Untitled (sacred heart), 2023
Earthenware, underglaze
Untitled (sacred heart: carlos), 2023
Earthenware, underglaze
Untitled (sacred heart: ma), 2023
Earthenware, underglaz
Courtesy of the artist
Read More
In the Catholic tradition, the Sacred Heart of Christ is a symbol of His enduring and everlasting love for humanity. Emily Luna uses this imagery to represent their love and connection to family, however strained or tenuous it might be. Her mother is pictured in her wedding attire and brother Julio is laughing in front of a yellow sky, while her brother Carlos is represented in his mugshot. Each fragment is one part of the mosaic of their family portrait, and represents layers of love, pain, and connection.
Dr. Swami Lucky Dougie Padilla is a self-taught visionary artist of Norwegian/Mexican/cowboy roots living in the wilds of Northfield, Minnesota, and Pepin, Wisconsin. In his 73 years, he has lived in a tent thru a sub-zero winter, farmed soybeans, survived the psychedelic travails of Haight-Ashbury, created and lost a million dollar a year business, fought against the war in Vietnam, meditated and lived with his guru in India, done thousands of drawings and paintings, co-founded numerous organizations and businesses. Among occupations he has counted: artist and arts and civil rights activist, farmer, blacksmith’s apprentice, jade cutter, housepainter, sportswear designer, psychic, carpenter, yoga instructor, and hospital orderly. He learned to sight sing Bach cantatas at age 11, lasted two embattled years in college, wandered schizophrenic on the streets of Chicago, had his first heart failure at age 20, helped birth his daughter in a rural commune, and coached and played soccer until his foot didn’t work anymore (age 51).
He has studied life and spirituality with Swami Vishnudevananda, Swami Venkatesananda, Stephen Gaskin, Katagiri Roshi, Bhagwan Shri Rajneesh (Osho), Michael Macmacha, Robert Bly, James Hillman, Malidome Some’, Echo Bodine, and Martin’ Prectel, among others. He sees the CoBrA School, Alice Coltrane, Federico Garcia Lorca, Howard Finster, Louise Nevelson, Louise Erdrich, Yusef Lateef, Jim Harrison, Manuel Mendive, Artemio Rodriquez, Friedensreich Hundertwasser, Gary Snyder, Marc Chagall, Gabriel Garcia Marquez, Norval Morrisseau, and Nikki de Saint Phalle as a few pillars of his aesthetic universe.
He has shown at the Museé Halle Saint Pierre in Paris, France, the Centro Cultural Ex-Carcel in Valparaiso, Chile, Projek Traum in Friedrichshafen, Germany, the Minneapolis Institute of Art and The Fredrick Weisman Art Museum in Minneapolis, Minnesota, the Plains Museum in Fargo, North Dakota, the National Mexican Museum of Art in Chicago, Illinois, and countless galleries throughout the Twin Cities and the U.S.A. Padilla has served on boards and committees of numerous arts non-profits and educated and mentored artists of all ages. He has curated and organized exhibitions and art events at all levels. For this he has received four Minnesota State Arts Board Artist Initiative Grants, the Northeast Minneapolis Arts District Vision Award, several Ofrenda awards from CreArte, Chicano Latino Cultural Center and Museum, the Jerome Foundation Travel Grant, many museum “Best of Show” awards, Minneapolis’ City Pages’ “Artist of the Year,” and was included in Twin Cities Public TV’s MNOriginal and “Forgiveness” series as well as the subject of a the film portrait “lucky dougie padilla” by Xavier Tavera. He has been married to his wonderful wife Susan for 32 years, has two great kids, and four very delightful grandchildren.
Dougie Padilla
the antler men (for donald gabino padilla), 2024
Mixed media on wood
Courtesy of the artist
Read More
1.
its evening, the sun is growing old
grown men, thirty of them,
dance down the street.
they are dancing towards me.
they are in their daily clothes,
in workshirts and suits,
in button-downs and flannels,
in lines, five across,
in lines six rows deep.
and they are all holding deer antlers
up to their heads,
deer antlers
four point, six point racks,
all dancing
silently dance,
their heads bobbing left and right,
all dancing towards me.
they are holding antlers to their heads,
they are dancing right towards me.
2.
there are prayers that no one else can sing.
there are prayers that no one else can know.
I am not worried about finding my way
back thru the woods this winter
I live alone in this farm house now
because I can.
—Dougie Padilla
Dougie Padilla (left to right, top to bottom)
buy bewildering surrender, 2024
pocho king, 2024
the antler men, 2024
remain an artist, 2024
delight, 2024
pocho loco (thread of the blood), 2024
Mixed media
Courtesy of the artist
Marcela Rodriguez is a contemporary artist whose work and education span many mediums.
Born in 1965, Marcela grew up along the rugged Southern Chilean coast. The vast Patagonian landscape and turbulent Pacific Ocean greatly influenced her. While in college, she discovered street theatre and began performing with two important Santiago theatre troupes. This provided a tremendous experience in the arts. Living under a dictatorship, which brutally repressed dissent, marked her understanding of the power of art.
In 1992, she moved to Minneapolis, USA, and obtained a bachelor’s degree in Theatre Arts and an MFA with a concentration in painting and drawing. In 2001, she moved back to Chile and in 2016 she learned printmaking, focusing on lithography.
She has completed two art residencies for printmakers, including a month-long one in Veracruz, Mexico at La Ceiba Grafica in 2018 and with renowned artists from “Taller 99” in Santiago, 2019. She currently lives and works as a visual artist in Concón, Chile.
Marcela Rodríguez Aguilar
Oveja Azul (Blue Sheep), 2024
Oil on canvas
Courtesy of the artist
Read More
In this mysterious painting, Marcela Rodríguez Aguilar presents an allegory of healing wounds. The otherworldly landscape is rooted in memories of her childhood in Magallanes, a glacial plains region in southern Chile. When visiting her dad who worked at a lighthouse keeper outside the city of Punta Arenas, she would see thousands of lambs grazing the grasslands. The title indicates the emotional centrality of the blue lamb. Although the significance of the blueness is ambiguous, the color is a particularly complex and paradoxical one, tied to memory.
The importance of the blue lamb is heightened by its placement behind the painting’s central figure, a young woman with a melancholic expression. She wears a dress that appears to be a window into arteries and internal organs, which verge on taking monstrous form. Close inspection reveals a needle and red thread in one of the figure’s hands, connecting the tumultuous surface of the dress with the white cloth in her other hand. This small act of mending suggests the possibility of repair.
Alonso Sierralta is originally from Valparaiso, Chile. He moved to Omaha, Nebraska with his family at the age of fourteen and studied visual art. Alonso holds an MFA from the University of Nebraska. He has been featured in numerous national and international exhibitions and has received several grants and awards for his work.
Alonso Sierralta
If you don’t love me, I might love you, If I love you, watch out, 2024
Record player, wood, steel, and paint
Courtesy of the artist
Read More
Alonso Sierralta’s installation centers on two cracks in the floor, along a fault line between past and present, absence and presence, father and son.
Sierralta’s father was a music teacher who specialized in Chilean folk music but was a fan of all genres. He had a modest collection of records. One of his most prized was George Bizet’s opera Carmen. The artist recalls that on the frequent occasion when the record was playing in his family’s home, he and his sister would jump to the beat during the overture making the record skip and their dad furious.
Overturned by jumping kids or a seismic event (very common in Chile), the record player’s many legs suggest trembling motion, and that, like the earth, memory can quake. The adjacent record player is grounded and contains a negative space that holds a steel sketch of Sierralta’s father. The sketch casts rippling shadows on the floor. The title of the artwork is “written” with many carefully drilled holes on the back suggesting the possibility of a painful experience when love is on the table.
Minneapolis-based artist, Maria Cristina (Tina) Tavera is a multidisciplinary artist who investigates the constructions of racial, ethnic, gender, national and cultural identity via numerous mediums including printmaking, installation, and public art. The artwork focuses on the Latinidad within the United States by examining cultural signifiers determined by our society on how people define themselves and their cultures in everyday life.
Maria Cristina Tavera is a dual citizen with Mexico and the United States. Tavera holds a Master of Leadership in the Arts from the Humphrey School from the University of Minnesota. She has received fellowships and grants: U.S. Latinx Artist Fellowship, McKnight Visual Artist Fellowship, Bush Leadership Fellowship, Shannon Leadership Institute, Smithsonian Latino Museum Studies program, Museum of Modern Art-New York, Forecast Public Art, Minnesota State Arts Board, Metropolitan Regional Arts Council (MRAC), and Institute of Mexicans Abroad (IME).
Tavera has exhibited nationally and internationally, and artwork can be found in the collections of the City of Minneapolis Public Art, Weisman Art Museum, Fargo Plains Museum, Oglethorpe Museum, Tweed Museum of Art, Minnesota History Center, and the Biblioteca Central de Cantabria, Santander, Spain. As an independent curator, she prepared the international exhibition Sus Voces: Women Printmakers in Mexico at Highpoint Center for Printmaking, and was co-curator for American Art its Complicated at the Minnesota Museum of American Art (“M”). Her writings have been published by the Walker Art Center, Minneapolis Institute of Arts, as well as in a book titled, Mexican Pulp Art.
Maria Cristina (Tina) Tavera
Saluden a todos los que pregunten por mí/Say hello to everyone who asks about me, 2024
Mixed media
Courtesy of the artist
Read More
The patio in this artwork was the emotional center of the home of Maria Cristina Tavera’s beloved grandmother, Aurora. It was a place where her grandmother spent extensive time before she passed away at almost 105 in February 2024 and where family often gathered around her.
Although Tavera lived in Minneapolis and her grandmother in Mexico City, they had a deep bond. Memories are often fragmented recollections of the past and over time, even reminiscing cannot guarantee we will remember the specific details of our lived experiences. After her grandmother’s death, the patio revealed to Tavera the many complexities and contradictions of memory: the way a person can feel simultaneously strongly present and absent, the ability of objects to become containers for transmitting memories across generations, and the way some memories refuse to be recalled while others come involuntarily.
Following generations of artisans, Tavera adorns this homage with printed images and needlework embellishments to share anecdotes about the objects we hold onto in real time or in cherished memories. The customary use of excessive fonts to officiate life’s events, the thread linking two worlds, and the hummingbird which embodies the soul to the afterlife. As the rat attests, some of the most vivid memories aren’t pleasant ones. By embroidering forget-me-nots across the surface of the image, Tavera signals her fear of forgetting, not only her grandmother but where she comes from.
Xavier Tavera has had a passion for portraiture for most of his life as a way to engage with people and their stories. Tavera’s work oscillates between documentary and the imagined with the sole purpose of telling a story. After moving from Mexico City to the United States, Tavera has devoted himself to tell the stories of the Latin American diaspora, often recontextualizing with the purpose of providing visibility and fair representation.
Tavera has shown his work extensively in the Twin Cities, nationally and internationally including Germany, Scotland, Mexico, Chile, Uruguay, Switzerland, Portugal, Greece and China. His work is part of the collections of the Minneapolis Institute of Art, Plaines Art Museum, Minnesota Museum of American Art, Minnesota History Center, Ramsey County Historical Society, the Weisman Art Museum and the National Museum of Mexican Art. He is a recipient of the McKnight fellowship, Jerome Travel award, State Arts Board, and Bronica scholarship.
Xavier Tavera
Sagrado Corazón 2, 2024
Inkjet prints on paper
Courtesy of the artist
Read More
Every year for more than a decade, Xavier Tavera has observed and photographed the Catholic mass at 38th Street and Pleasant Avenue in South Minneapolis. This Sagrado Corazón de Jesús community was established in 1990 in response to the influx of Latine immigrants into the Twin Cities area and is now made up of parishioners representing nearly every country in Latin America. Tavera returns every year for the Viacrucis, the Passion of Crist to observe and contemplate the complexity of the parishioners’ religiosity and how it provides a container to hold the grief of displacement.
In this series, Tavera enlisted collaborators Ingrid Luna (fellow professor at Carleton College), and Andres Perez (fellow artist photographer) to inhabit, subvert, and Latinize the Catholic iconography that enamors and perplexes him. “I grew up looking at white Jesus,” Tavera reflects. Here, the Virgin Mary (Luna, a Columbian), and Jesus (Perez, a Mexican), throwing up the gang signs for east and west to signify the Christianization through colonization from continent to continent and from coast to coast. Between the two is a lamb bound with rope, a symbol of the sacrificial violence that promises to clean our sins.
Xavier Tavera
Cordero de dios, 2024
Inkjet prints on paper
Courtesy of the artist
Xavier Tavera
Sagrado Corazón 1, 2024
Inkjet prints on paper
Courtesy of the artist
11 de julio de 2024—12 de enero de 2025
Galería Nancy y John Lindahl
Esta exhibición reúne a quince artistas visuales Latine a lo largo y ancho de la diáspora para considerar el significado de la sangre como material de la fundación de la vida, transportador de linajes complejos, una señal de violencia y muerte, y un símbolo cultural y espiritual de sacrificio y expiación. A pesar de su potencia, su oculta presencia en nuestros cuerpos nos ayuda a ser indiferentes a su significado.
Los artistas presentados parecen inquebrantables a las contradicciones que este vibrante líquido rojo revela. La sangre es evidencia del entretejido de la patria y la diáspora, la vida y la muerte, y la humanidad e inhumanidad. Esta habla de la violencia de las fronteras que cruzan sobre comunidades y personas en tiempos de fuertes sentimientos anti-inmigrantes. Esta habla de los efectos devastadores en curso del sistema de casta racial español basado en diferentes “mezclas” de sangre.
Así como esta fluye a través de nuestros cuerpos, la sangre también lleva conocimiento de parentescos, algunos tan fuertes como el cable de acero y otros frágiles como un pelo. Para los artistas presentados, la complejidad de estas nervaduras abre íntimas conversaciones sobre cultura, ascendencia, herencia, jerarquía, inmigración, género y personalidad.
Hilo de la Sangre es organizada por el incesante colectivo de artistas Grupo Soap del Corazón fundado por los artistas Xavier Tavera y Dougie Padilla en el 2000. Durante el transcurso de sus más de veinte años de historia, Grupo ha resistido formalización y categorización pero ha permanecido fiel a sus raíces, continuando el apoyo a artistas Latina, Latino y Latine, en particular aquellos del Upper Midwest, y promoviendo la inmersión en complejos y difíciles temas.
Artistas:
Betty Árbol, Nancy Ariza, Ricardo Bennett-Guzmán, Carlos Castro Arias, Luis Fitch, Julia Garcia, Martin Gonzales, Rigoberto A. González, Roberto Lopez-Rios, Emily Luna, Dougie Padilla, Marcela Rodríguez Aguilar, Alonso Sierralta, Maria Cristina (Tina) Tavera, Xavier Tavera.
Evento:
El 13 de octubre de 2024, únase a la Dra. Karen Mary Davalos mientras modera un panel de discusión con artistas expositores de 1:00 a 2:00 p. m.
Betty Árbol, Cd. Juarez (1987). Egresada de la Lic. en Diseño Gráfico de la Universidad Autónoma de Cd. Juárez. Su trabajo denota un marcado interés por la cultura popular y por aquellas figuras icónicas del mundo del espectáculo, crea narrativas relacionadas con el origen y la evolución de las especies fundamentándose en el imaginario de la figura femenina estereotipada.
Igualmente hace énfasis en la gráfica que existe en el contexto fronterizo entre Mexico y Estados Unidos. Mediante el dibujo, la pintura y la escultura busca revivir y mezclar la cultura popular mexicana en conjunto con la cotidianidad en la frontera.
Betty Árbol (de izquierda a derecha)
Cd. Juárez, 2023
Prismacolor sobre papel
Electrodomésticos, 2022
Prismacolor sobre papel
Cortesía del artista
Read More
Como una mujer queer mexicana, la identidad de Betty Árbol impacta cada aspecto de su vida y trabajo. Informada por sus propias experiencias de vida y observaciones, ella camina a través de pueblos cerca de la frontera de los Estados Unidos y México y documenta fotográficamente la vida diaria. La cultura popular mexicana, la publicidad y la política se convierten en parte del collage mental con los objetos, ropa y las personas dibujadas directamente de las fotos.
Al mismo tiempo que ella traduce los collages de su mente a través del dibujo, Árbol presta particular atención a la manera como los cuerpos son idealizados y mercantilizados para la gratificación sexual. Su trabajo, altamente detallado, teje simultáneamente la mitología de los pueblos fronterizos con elementos tangibles de la realidad de vivir en estos lugares.
Betty Árbol
Estética unisex elba esther, 2019
Bolígrafo en pañuelo
Cortesía del artista
Betty Árbol
cdmx, 2022
Prismacolor sobre papel
Cortesía del artista
Nancy Ariza
Sangre Piteada 2, 2024
Grabado en madera y serigrafía con pigmento seco sobre tela de algodón
Cortesía del artista
Read More
En esta serie, Nancy Ariza combina las tradiciones artísticas de su familia con técnicas de grabado experimental para contemplar su identidad como mexicana y estadounidense e inmigrante de segunda generación. Los ancestros de Ariza eran dueños de caballos en Quebrantadero, Morelos en el centro de México. Ellos también se especializaban en bordar patrones geométricos en las sillas de montar de cuero para caballos a través de un método llamado piteado.
Los patrones usados en piteado están arraigados en conocimiento y creencias indígenas. Los escalones y espirales en Sangre Piteada, por ejemplo, hacen referencia a la salida y puesta del sol. Ella entrelaza estos patrones e incrementa su complejidad formal a través de un juego con el espacio positivo y negativo, los reflejos y la simetría. En sus propias palabras, “Yo uso esto como metáfora de mi identidad como mexicana y estadounidense, simplificada por una etiqueta, pero compleja y matizada por experiencia de vida.”
Nancy Ariza
Sangre Piteada 3, 2024
Grabado en madera y serigrafía con pigmento seco sobre tela de algodón
Cortesía del artista
Ricardo Bennett-Guzmán
Replica II, 2024
Digital, 9 minutos
Cortesía del artista
Read More
El artista invita al espectador a atravesar los espacios liminales entre la memoria y el mito, la realidad y la imaginación. Esta obra digital es un viaje a través del paisaje de nuestras mentes donde historias personales y colectivas son parte del tapiz dentro de todos nosotros. Esta refleja como la memoria, como la sangre, nos conecta y define, al mismo tiempo que permanece sujeta a la percepción del tiempo y el espacio que se remodela y distorsiona con cada generación que pasa.
Replica II profundiza en el concepto de la memoria como linaje, entrelazada con la fluida y con frecuencia elusiva naturaleza de nuestros recuerdos y narrativas heredadas. Es una exploración de la falta de confiabilidad de la memoria yuxtapuesta a las huellas duraderas del linaje. Escenas de memorias de la adolescencia y huellas de linajes son presentadas en pequeños fragmentos de tiempo que buscan nuestros recuerdos más duraderos. Esta pieza invita a los espectadores a reflexionar sobre lo que nos hace ser lo que somos.
La obra es un mapa digital de vida donde cada locación desencadena narrativas audiovisuales que mezclan recuerdos reales e imaginados relacionados a la cultura, violencia y migración.
Carlos Castro Arias
Tío (Uncle) Fragment of a Gonzalo Jimenez de Quesada sculpture, intervened with beads using symbols of the Inga culture from Putumayo, Colombia, 2021
Resina y plástico
Cortesía del artista
Read More
Esta escultura representa un fragmento de una estatua de Gonzalo Jiménez de Quezada cubierta de cuentas que representan símbolos de la cultura indígena Inga de la localidad de Putumayo en Colombia.
Carlos Castro Arias
Sustracción y Penetración, 2021
Dientes humanos en mazorcas de maíz
Cortesía del artista
Luis Fitch
Pereció (Perished), 2024
Técnica mixta sobre lienzo
Cortesía del artista
Read More
Al estilo de la gran obra anti-guerra de Picasso Guernica (1937), Pereció (Perished) de Luis Fitch ilumina las atrocidades de la guerra en la Palestina ocupada. Al hacer referencia a Picasso, Fitch transmite tanto la naturaleza inmutable de la guerra asi como la realidad inmediata del conflicto en curso. La misma paloma que Picasso usa como símbolo de paz yace muerta en el centro de los dos paneles. Fitch hace de la madre la figura central y su bebé muerto cuelga inerte de sus brazos.
El tono gris de la obra es para aludir a lo frío y pesado, como el concreto. Fitch conecta Palestina, México y Minneapolis al incorporar milagros de la Ciudad de México y cenizas de la Calle Lake que él recolectó después de las protestas anti-racistas del 2020. De acuerdo al artista, los Milagros son peticiones para milagros pequeños, ubicados aquí en las ventanas vacías de edificios destruidos.
Julia Garcia
Buzo (Diver), 2023
Acrílico, tinta y teñido sobre lienzo
Cortesía del artista
Read More
Sobre un lienzo crudo y húmedo, Julia Garcia conecta su trabajo a los humedales de los Everglades con un tipo de collage en base a pintura, tinta y teñido. La relación entre el material y el paisaje donde ella creció está dominada por el agua la cual históricamente ha sido diseñada artificialmente para el desarrollo urbano pero retiene su permeabilidad envolvente. El agua puede ser afectada por restricciones externas pero mantiene su flujo y memoria. Haciendo reflexión sobre los orígenes violentos de tradiciones aparentemente inocuas y una foto encontrada durante una excursión nocturna de pesca en el sur de la Florida, la obra de Garcia nos hace recordar de las memorias borrosas de vacaciones familiares y hace énfasis en la relación entre humanos, el parentesco y el medio ambiente.
Julia Garcia
Espejismo (Mirage), 2024
Acrílico, tinta y teñido sobre lienzo
Cortesía del artista
Martin Gonzales
Sin título, 2024
Acero
Cortesía del artista
Read More
En las palabras del artista, “Los uróboros, la serpiente comiéndose su propia cola, es un símbolo de renacer eterno y muerte. Los dos requieren del otro.” Mientras el artista navega su relación consigo mismo, la comunidad, y el poder, este símbolo emerge del mar del pensamiento como objeto de reflexión. La yuxtaposición de la flexibilidad de la serpiente con la rigidez de sus escamas se relaciona con la fluidez de su escultura y la estructura de sus materiales.
Rigoberto A. González
Familia de inmigrantes varada en el monte del Sur De Texas (Immigrant Family Stranded in South Texas wilderness), 2024
Óleo sobre lino
Cortesía del artista
Read More
En una dramática y muy emotiva deliberación de estilo barroco, Rigoberto A. González vuelve a imaginar detalles de composición de escenas mitológicas— como la muerte de Apolo, y el descubrimiento de la cabeza de Orfeo—para crear imágenes que reflexionan sobre las complejidades de la frontera entre los Estados Unidos y México. Él conecta lo vernacular visual del Barroco con las vidas dramáticas de gente ordinaria que vive cerca de La Frontera, el borde. Las complejidades de inmigración, la guerra contra las drogas, y la confluencia de la cultura mexicana y estadounidense han creado un paisaje que según él es, simbólicamente, ni México ni Los Estados Unidos, sino un lugar amorfo.
Rigoberto A. González
Para Que Aprendan A Respetar (So That They Learn to be Respectful), 2023
Óleo sobre lino
Cortesía del artista
Rigoberto A. González
Alegoría De La Frontera (Border Allegory), 2023
Óleo sobre lino
Cortesía del artista
Roberto Lopez Rios
Cuestionando la fe, 2024
Bolígrafo rojo y negro, carboncillo blanco y yeso sobre papel.
Cortesía del artista
Read More
Después de haber sido sentenciado a cadena perpetua a los dieciséis años, Roberto Lopez Rios dice “…a lo largo de mi experiencia, fue el amor que mi madre me mostró y sus acciones lo que sentó las bases que me sostuvieron.” Lopez Rios sirvió veintitres años en prisión. Informado por sus experiencias dentro de esta, él y su amigo de infancia Avra Anagnostis fundaron “Juvenile Sentencing Reform MN” (“Reforma de las sentencias juveniles MN”), una organización dedicada a terminar las sentencias juveniles de cadena perpetua sin libertar condicional. Lopez Rios fue liberado un año después que la Ley de crímenes atroces de Minnesota (Minnesota’s Heinous Crimes Act) fuera modificada en mayo del 2023.
Cuestionando la fe fue creada durante el proceso de su audiencia judicial y representa las generaciones de poderosas mujeres mexicanas que han ayudado a formar sus creencias. Aunque él puede desfallecer a veces, así como lo representa la carencia de rostro de Santa María de Guadalupe y los hombres dándole sus espaldas, él sabe que ella sentó las bases para México y los mexicanos de la manera como su madre Julia lo hizo por él. Las mujeres, él enfatiza, son sagradas y valoradas.
Emily Luna (de izquierda a derecha, de arriba a abajo)
Sin título (sagrado corazón: julio), 2023
Sin título (sagrado corazón), 2023
Sin título (sagrado corazón: carlos), 2023
Sin título (sagrado corazón: ma), 2023
Loza de barro, vidriado
Cortesía del artista
Read More
En la tradición católica, el Sagrado Corazón de Cristo es un símbolo de Su duradero y eterno amor por la humanidad. Emily Luna usa esta imagen para representar su amor y conexión con la familia, a pesar de lo tensa o tenue que esta pueda ser. Su madre es mostrada en su vestido de boda y su hermano Julio aparece riéndose en frente de un cielo amarillo, mientras su hermano Carlos está representado en su foto policial. Cada fragmento es parte del mosaico del retrato de su familia y representa capas de amor, dolor y conexión.
Dougie Padilla
los hombres cuerno (dedicado a donald gabino padilla), 2024
Técnica mixta sobre madera
Cortesía del artista
Read More
1.
es de atardecer, el Sol envejece
hombres mayores, trenta de ellos,
bailan en la calle.
ellos están bailando hacia mí.
ellos visten su ropa cotidiana,
en camisas de trabajo y trajes,
en camisas de botones y franelas,
en líneas, cinco a lo largo,
en líneas seis filas al fondo.
y ellos están sosteniendo cuernos de venado
hasta sus cabezas,
cuernos de venado
colgaderos de cuatro, seis,
todos bailando
baile silencioso,
sus cabezas balanceándose de izquierda a derecha,
todos bailando hacia mí.
ellos están sosteniendo los cuernos hasta sus cabezas,
ellos están bailando hacia mí.
2.
hay oraciones que nadie más puede cantar.
son oraciones que nadie más puede saber.
yo no estoy preocupado por encontrar mi camino
de vuelta por el bosque este invierno
yo vivo solo en esta granja ahora
porque yo puedo.
—Dougie Padilla
Dougie Padilla (de izquierda a derecha, de arriba a abajo)
comprar rendición desconcertante, 2024
el rey pocho, 2024
los hombres cuerno, 2024
sigue siendo un artista, 2024
deleitar, 2024
pocho loco (hilo de la sangre), 2024
Técnica mixta sobre papel
Cortesía del artista
Marcela Rodríguez Aguilar
Oveja Azul (Blue Sheep), 2024
Óleo sobre lienzo
Cortesía del artista
Read More
En este misterioso cuadro, Marcela Rodríguez presenta una alegoría de cicatrización de heridas. El paisaje de otro mundo tiene sus raíces en las memorias de su niñez en los Magallanes, una región de llanuras glaciares en el sureste de Chile. Cuando visitaba a su padre quien trabajaba como farero en las afueras de Punta Arenas, ella veía a miles de corderos pastoreando los pastizales. El título indica la emocionalidad central de la oveja azul. Aunque el significado de lo azulado es ambiguo, el color es uno particularmente complejo y paradójico, conectado a la memoria.
La importancia de la oveja azul es intensificada por su posicionamiento detrás de la figura central de la pintura, una mujer joven con una expresión melancólica. Ella viste un traje que parece ser una ventana hacia las arterias y los órganos internos los cuales están a punto de tomar una forma monstruosa. Una inspección de cerca revela una aguja y un hilo rojo en una de las manos de la figura, conectando la tumultuosa superficie del vestido con el paño blanco en su otra mano. Este pequeño acto de restauración sugiere la posibilidad de reparación.
Alonso Sierralta
Si no me amas, puede que te ame, si te amo, cuidado, 2024
Tocador de discos, madera, acero y pintura
Cortesía del artista
Read More
La instalación de Alonso Sierralta se centra es dos grietas en el suelo, una línea de falla tectónica entre el pasado y el presente, ausencia y presencia, padre e hijo.
El padre de Sierralta fue maestro de música especializado en la música folclórica chilena pero era admirador de todos los géneros. Él tenía una modesta colección de discos. Uno de sus más preciados era la ópera Carmen de Georges Bizet. El artista recuerda que cada vez que tocaban el disco en la casa de su familia, él y su hermana saltaban en respuesta al compás durante la obertura haciendo que el disco saltara y enfureciendo a su padre.
Volcado por los saltos de los niños o por un evento sísmico (muy común en Chile), las piernas del reproductor de discos sugieren un movimiento tembloroso, y así, como la tierra, la memoria puede temblar. El tocador de discos en esta instalación está asegurado al suelo y contiene un espacio negativo que sostiene un boceto de acero del padre de Sierralta. El boceto proyecta sombras ondulantes en el suelo. El título de la obra está “escrito” con varios agujeros cuidadosamente perforados en la parte de atrás sugiriendo la posibilidad de una experiencia dolorosa cuando el amor está sobre la mesa.
Maria Cristina (Tina) Tavera
Saluden a todos los que pregunten por mí/Say hello to everyone who asks about me, 2024
Técnica mixta
Cortesía del artista
Read More
El patio en esta obra fue el centro emocional de la casa de la querida abuela de Maria Cristina Tavera, Aurora. Fue un lugar donde su abuela pasó largas horas antes de fallecer a los casi 105 años de edad en febrero del 2024 y donde su familia se reunía con frecuencia a su alrededor.
Aunque Tavera vivía en Minneapolis y su abuela en Ciudad de México, ellas tenían un vínculo profundo. Las memorias son frecuentemente recuerdos fragmentados del pasado, y aun reviviéndolas en el tiempo no garantizan que recordemos los detalles específicos de nuestras vivencias. Después del fallecimiento de su abuela, el patio reveló a Tavera muchas de las complejidades y contradicciones de la memoria: la manera como una persona puede sentirse simultáneamente presente y ausente, la habilidad de los objetos de convertirse en contenedores para transmitir memorias a través de generaciones y la manera como algunas memorias se niegan a ser despertadas mientras otras arriban naturalmente.
Siguiendo generaciones de artesanos, Tavera adorna este homenaje con imágenes impresas y adornos de costura para compartir anécdotas sobre los objetos a los que nos aferramos en tiempo real o en recuerdos preciados: el uso habitual de letras excesivas para oficiar eventos, el hilo que une dos mundos, y el colibrí que encarna el alma al más allá. Como atestigua la rata, algunas de las memorias más vívidas no son las más placenteras. Al bordar nomeolvides a lo largo de la superficie de la imagen, Tavera señala su miedo a olvidar, no sólo a su abuela pero de donde viene ella.
Xavier Tavera
Sagrado Corazón 2, 2024
Impresiones de inyección de tinta sobre papel
Cortesía del artista
Read More
Cada año por más de una década, Xavier Tavera ha observado y fotografiado la misa católica en la calle 38 con la Avenida Pleasant en el sur de Minneapolis. Esta comunidad del Sagrado Corazón de Jesús fue establecida en 1990 en respuesta a la afluencia de inmigrantes Latine al área de las Ciudades Gemelas y está ahora compuesta de feligreses representando casi todos los países en Latinoamérica. Tavera regresa cada año para el Viacrucis, la Pasión de Cristo para observar y contemplar la complejidad de la religiosidad de los feligreses y como esta provee un espacio para sostener el dolor del desplazamiento.
En esta serie, Tavera enlistó a colaboradores como Ingrid Luna (profesora compañera en Carleton College) y Andrés Pérez (colega fotógrafo) para habitar, subvertir y latinizar la iconografía católica que lo enamora y perpleja. “Yo crecí mirando a un Jesús blanco,” reflexiona Tavera. Aquí, la Virgen María (Luna, una colombiana) y Jesús (Pérez, un mexicano), arrojan cartelas de pandillas para el este y el oeste significando la cristianización a través de la colonización de continente a continente y de costa a costa. Entre los dos hay un cordero atado con cuerda, un símbolo de la violencia sacrificial que nos promete limpiar nuestros pecados.
Xavier Tavera
Cordero de dios, 2024
Impresiones de inyección de tinta sobre papel
Cortesía del artista
Xavier Tavera
Sagrado Corazón 1, 2024
Impresiones de inyección de tinta sobre papel
Cortesía del artista
Minnesota Museum of American Art
350 Robert Street North
St. Paul, MN 55101
Located in the Historic Pioneer Endicott
Office: 651.797.2571
The M thrives because of people like you! Your contribution will support dynamic and engaged partnerships and programs related to St. Paul, Minnesota, and shared experiences across difference in the region.