INESMagazina, Ernst-Koref-Promenade 1, Linz (2026)

19/03/2025

https://inesmagazina.com/magazina/kekena_corvalan_la_emancipada_arteecuador/

is thrilled to present a captivating review by Kekena Corvalán in our Unruled column! This piece delves into the inauguration of the Ecuadorian Art and Women Encounter at the Municipal Museum of Modern Art in Cuenca, showcasing women artists’ collective strength and resilience. Organized by La Emancipada, the exhibition is a powerful statement on unity and collective action in the face of ongoing struggles. With the theme We will not say goodbye even if the road darkens, the encounter highlights the works of local and transnational artists, weaving together politics, desire, and aesthetics in a celebration of border-crossing practices.

Featuring pioneering figures like Eudoxia Estrella, the exhibition honors the rich legacy of women in art, inviting us all to reconsider the power of community and creative resistance. Don’t miss this insightful exploration of art, feminism, and solidarity.

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INES Magazina presenta la reseña de Kekena Corvalán en nuestra columna Unruled! Este texto explora la inauguración del Encuentro de Arte y Mujeres Ecuatorianas en el Museo Municipal de Arte Moderno de Cuenca, destacando la fuerza colectiva y la resiliencia de las artistas mujeres. Organizada por La Emancipada, la exposición es una poderosa declaración sobre la unidad y la acción colectiva frente a las luchas que persisten. Con el lema No diremos adiós aunque el camino se oscurezca, el encuentro resalta las obras de artistas locales y transnacionales, fusionando política, deseo y estética en una celebración de prácticas que cruzan fronteras.

Con figuras pioneras como Eudoxia Estrella, la exposición rinde homenaje al legado de las mujeres en el arte, invitándonos a reflexionar sobre el poder de la comunidad y la resistencia creativa. No te pierdas esta reflexión sobre arte, feminismo y solidaridad.
INES_Magazina

04/02/2025

In her powerful review, Nina Hoechtl explores C A C H E: Feminist Aesthetics and Archival Processes, an exhibition that interrogates the dynamic intersection of feminist art practices and archival methodologies. Located at the Lentos Art Museum in Linz, Austria, this exhibition features four contemporary womxn artists—Tabea Borchardt, Anne Glassner, Claudia Larcher, and Katrin Mayer—who creatively engage with the working materials of renowned feminist artist VALIE EXPORT. The exhibition provides a space for dialogue around the politics of archiving, authorship, and authority, showcasing how these artists challenge historical narratives through innovative interpretations of EXPORT’s archival collection.

Through their unique projects, these artists explore themes such as language, memory, historical reinterpretation, and the ethical implications of artificial intelligence. The exhibition highlights the power of the archive as both a tool and an artwork, urging viewers to reconsider how archives shape and reflect artistic practices. Hoechtl's review captures the exhibit’s thought-provoking atmosphere, where feminist aesthetics collide with archival processes to offer new perspectives on the intersection of art, history, and memory.

Don’t miss this essential exploration of feminist archives and artistic legacy!

.borchardt.portfolio

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28/01/2025

When Manifesta Landed in Barcelona. TRANS-EUROPE Colum By Nekane Aramburu.

Click here to read the article: https://inesmagazina.com/magazina/trans-europe-when-manifesta-landed-in-barcelona/

Manifesta 15, held in Barcelona, embodied a dynamic intersection of art, politics, and community. As Europe’s “Nomadic Biennale,” it decentralized its exhibitions across 11 cities, creating a vast, interconnected tapestry of artistic exploration. Anchored by the bold vision of curator Hedwig Fijen, the biennale sought to fuse local issues with global concerns, challenging the conventions of contemporary art biennales. Aramburu’s reflection sharpens the critique of Manifesta's shifting impact, exploring the "Alka-Seltzer Effect"—the fleeting energy that often dissipates post-event. With impressive curatorial rigor, Manifesta’s 15th edition brought together iconic and emerging artists in a powerful blend of postcolonial, gender-focused, and environmental narratives. Key installations, from Las Tres Chimeneas's monumental spaces to the Cal Quitèria's participatory works, highlighted a crucial dialogue between art and its social context. Aramburu delves into the significance of such events, questioning their lasting influence while valuing their role in community engagement and artistic innovation.

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Cuando Manifesta llegó a Barcelona. Columna TRANS-EUROPA Por Nekane Aramburu. Manifesta 15, celebrada en Barcelona, encarnó una intersección dinámica de arte, política y comunidad. Como la "Bienal Nómada de Europa", descentralizó sus exposiciones a través de 11 ciudades, creando un vasto y entrelazado tapiz de exploración artística. Anclada en la audaz visión de la curadora Hedwig Fijen, la bienal buscó fusionar los problemas locales con las preocupaciones globales, desafiando las convenciones de las bienales de arte contemporáneo. La reflexión de Aramburu agudiza la crítica al impacto cambiante de Manifesta, explorando el "Efecto Alka-Seltzer", la efervescencia fugaz que a menudo se disipa tras el evento. Con una rigurosidad curatorial impresionante, la 15ª edición de Manifesta reunió a artistas consagrados y emergentes en una poderosa mezcla de narrativas postcoloniales, de género y ambientales. Instalaciones clave, desde los monumentales espacios de Las Tres Chimeneas hasta las obras participativas en Cal Quitèria, subrayaron el crucial diálogo entre el arte y su contexto social. Aramburu ahonda en la importancia de tales eventos, cuestionando su influencia duradera mientras valora su rol en el compromiso comunitario y la innovación artística.

Image credit: When Women Strike the World Stops, 2020 © Claire Fontaine, Vegap, Barcelona 2024. Photo © Manifesta 15 Barcelona Metropolitana / Ivan ErofeevManifesta

21/01/2025

Feminine Gazes on the Body at the Tolzú Cultural Center in Toluca, Mexico, curated by Karen Cordero R. In her review, Blanca Menes celebrates how this powerful exhibition challenges traditional views of femininity and invites us to reimagine our relationship with our bodies. Through the lens of the Kaluz Collection, the show unveils diverse and empowering perspectives on identity, gender, and self-empowerment. An essential journey of self-reconciliation and artistic expression.

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Feminine Gazes on the Body en el Centro Cultural Tolzú de Toluca, México, curada por Karen Cordero R. En su reseña, Blanca Meneses destaca cómo esta impactante exposición desafía las ideas tradicionales sobre la feminidad, invitándonos a reinventar nuestra relación con el cuerpo. A través de la Colección Kaluz, la muestra presenta perspectivas diversas y empoderadoras sobre la identidad, el género y la autovaloración. Un viaje esencial de reconciliación y expresión artística. cordero

15/01/2025

In the latest installment of Spoken Portraits for INES_Magazine, Daniel Santiago Salguero engages in a thought-provoking conversation with Juana Anzellini, exploring her unique artistic journey. Anzellini, a multidisciplinary artist, shares insights into her work, intertwining themes of blindness, visual impairment, and the complex layers of perception. She discusses the creation of Andere Koordinaten (title in German), Others Coordinates (title in English), publications that feature interviews with individuals with visual impairments. The conversation also delves into her art-making process, particularly her exploration of the interplay between sight and non-sight, which she views as an accumulation of invisible layers in painting. A pivotal moment in the discussion revolves around her Soft&Porn& project, a catalog of works inspired by vintage comics and the complex relationship between visual art and the concept of eroticism, challenging traditional views of sexuality. The conversation highlights Juana's evolving connection with the visual and the tactile, bridging the gap between sighted and blind audiences in innovative ways.

En la última entrega de Spoken Portraits para INES_Magazine, Daniel Santiago Salguero sostiene una conversación profunda con Juana Anzellini, explorando su singular trayectoria artística. Anzellini, una artista multidisciplinaria, comparte sus perspectivas sobre su trabajo, entrelazando temas de ceguera, discapacidad visual y las complejas capas de la percepción. Habla sobre la creación de Andere Koordinaten (título en alemán), Otras coordenadas (título en español), publicaciones que presentan entrevistas con personas con discapacidades visuales.

21/11/2024

In her latest Beneath Tides column for INES_Magazina, fernanda ramos mena delves into Mobile Coordinates: Networks of Collaboration Among Women in Culture and Art (1975-1985), by .lamoyi is a groundbreaking research project that uncovers the often-overlooked contributions of women in Mexican activism, art, literature, and criticism.
https://inesmagazina.com/magazina/networks-in-movement-mobile-coordinates-mexico-2024/

Through oral histories, personal archives, and collective narratives, this book challenges traditional art history, offering a more inclusive and plural perspective on the cultural landscape of the time.

ramos mena reflects on the book's ability to shed light on women-led movements like MAS, MNM, and the Women’s Liberation Movement, exploring their impact on feminist art practices. With contributions from leading researchers and curators, the book revisits vital moments such as the 1977 Pintoras/escultoras (Painters/sculptors) exhibition, showcasing the essential roles of female managers and artists.

Other invited authors: Blanca Edna Alonso Rosas .pilargarcia

It is a must-read for those seeking to understand and celebrate the hidden histories of women in Mexican culture.

.lara. .fad. Fundacion Jumex, Oficina de proyectos editoriales

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En su última columna Beneath Tides, Fernanda Ramos Mena profundiza en Coordenadas Móviles: Redes de Colaboración entre Mujeres en la Cultura y el Arte (1975-1985), por Gemma Argüello Manresa, Natalia de la Rosa, Carla Lamoyi, Roselin Rodríguez Espinosa es un innovador proyecto de investigación que revela las contribuciones frecuentemente ignoradas de las mujeres en el activismo, el arte, la literatura y la crítica mexicana. A través de historias orales, archivos personales y narrativas colectivas, este libro desafía la historia del arte tradicional, ofreciendo una perspectiva más inclusiva y plural del panorama cultural de la época.

Ramos Mena reflexiona sobre la capacidad del libro para iluminar los movimientos liderados por mujeres como MAS, MNM y el Movimiento de Liberación de la Mujer, explorando su impacto en las prácticas artísticas feministas. Con contribuciones de destacados investigadores y curadores, el libro revisita momentos clave como la exposición Pintoras/escultoras de 1977, destacando los papeles esenciales de las gestoras y artistas femeninas.

Otroxs autorxs invitadxs Alejandra Moreno, Blanca Edna Alonso Rosas, Elva Peniche, Karen Cordero, Pilar e Irving Domínguez.

Una lectura imprescindible para quienes buscan entender y celebrar las historias ocultas de las mujeres en la cultura mexicana.

22/10/2024

INÉS_Magazine is proud to welcome the brilliant Karen Cordero Reiman as our new Editorial Advisor, whose expertise and vision will enrich our Magazina!.

You can also read her article: ¨Recollections and Reflections on Collectivity, ¨ published on our website: https://inesmatriarchive.com/magazina/recollections-and-reflections-on-collectivity-2/

Karen Cordero Reiman is an art historian, curator, and writer. Born in the U.S., she has lived and worked in Mexico since 1982. She has been a professor in the Art Department of the Universidad Iberoamericana Mexico City and the Graduate Program in Art History at the National Autonomous University of Mexico (UNAM) and is a founding member of Curare, a Critical Space for the Arts. She is the author of numerous publications in her areas of specialization: twentieth and twenty-first century Mexican art; the relationship between the so-called “fine arts” and the so-called “popular arts” in Mexico; the historiography of art; body, gender, and sexual identity in Mexican art; and museological and curatorial discourses in Mexico. In addition, she has had a continuous participation in museums as curator, advisor, and researcher. Currently she works as an independent researcher and curator, as well as on personal creative projects that relate art, literature, and history.

Photo by Antonio Juarez Caudillo

15/10/2024

https://inesmatriarchive.com/magazina/mourning-rituals-and-archiving-practices-around-the-exhibition-%c2%a8i-started-painting-when-my-grandmother-began-to-lose-her-memory%c2%a8/

INES_Magazina
In this edition of the Unruled Column, Kekena Corvalán delves into the vital practices of “artchiving,” drawing from the exhibition “I Started Painting When My Grandmother Began to Lose Her Memory,” which opened on August 3 at the Parque de la Memoria in Buenos Aires and will travel to the Museo de Bellas Artes in Santiago, Chile, on January 30, 2024.

Through collaboration with artists like Anahí Fiorella Gómez, who draws from her Qom heritage and the painful history of the Napalpí Massacre, Corvalán explores how these practices can sustain memory, celebration, and community connection. The exhibition embodies an innovative approach to archiving that challenges conventional narratives, emphasizing the importance of lived experiences and interpersonal relationships in reclaiming history.

Join us as we navigate the complexities of memory and identity, and consider how we, as viewers, can participate in this living archive. Let us engage with the past, breathe life into its stories, and ensure that they are never forgotten.

En esta edición de la Columna Sin Reglas, Kekena Corvalán profundiza en las prácticas vitales del “artchiving,” basándose en la exposición “Comencé a Pintar Cuando Mi Abuela Empezó a Perder la Memoria,” que se inauguró el 3 de agosto en el Parque de la Memoria en Buenos Aires y se trasladará al Museo de Bellas Artes en Santiago, Chile, el 30 de enero de 2024.

A través de la colaboración con artistas como Anahí Fiorella Gómez, quien se inspira en su herencia Qom y en la dolorosa historia de la Masacre de Napalpí, Corvalán explora cómo estas prácticas pueden sostener la memoria, la celebración y la conexión comunitaria. La exposición encarna un enfoque innovador del archivo que desafía las narrativas convencionales, enfatizando la importancia de las experiencias vividas y las relaciones interpersonales en la reclamación de la historia.

09/10/2024

https://inesmatriarchive.com/magazina/natalia-pastor-inside-out/
In “Breaking the Gaze,” Semíramis González examines Natalia Pastor’s installation, “Domestic Barricade, Inside Out.” (“Barricada doméstica: de dentro a afuera”)This work critically engages with the historical erasure of women’s labor, particularly in the context of the Asturian Mining Basin. González emphasizes how Pastor’s installation, composed of domestic objects and coal, challenges traditional narratives about women’s roles in capitalism. González asserts that Pastor’s work advocates for recognizing women’s essential roles, calling for a transformative understanding of the domestic space as a site of exploitation and resistance.

En “Rompiendo la mirada”, Semíramis Gonzalez examina la instalación de Natalia Pastor, “Barricada doméstica: de dentro a afuera”. Esta obra aborda críticamente el borrado histórico del trabajo de las mujeres, en particular en el contexto de la cuenca minera asturiana. González destaca cómo la instalación de Pastor, compuesta de objetos domésticos y carbón, desafía las narrativas tradicionales sobre los roles de las mujeres en el capitalismo. González afirma que la obra de Pastor aboga por el reconocimiento de los roles esenciales de las mujeres, y exige una comprensión transformadora del espacio doméstico como un lugar tanto de explotación como de resistencia.

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