In Sonnet of Vermin (2022), a legion of unwanted creatures related to the Mesoamerican underworld attempt to syntonise with each other and the dead in the midst of a planetary cataclysm. They seek for a subaltern solidarity and queer relationality as a form of re-existence within the ruins. Sonnet of Vermin was presented at the Mexican pavilion of the Venice Biennale in 2022. In The Vermin’s Radio (2023) created during her residency at iii, The Hague in 2023 the characters of Sonnet of Vermin are further explored as interactive wearable sculptures populating the exhibition space.
From a decolonial-cuir perspective, Naomi Rincón Gallardo's research-driven critical, mythical, dreamlike worldmakings address the creation of counter-worlds in neo-colonial settings. In her work she integrates her interests in theatre games, popular music, Mesoamerican cosmologies, speculative fiction, vernacular festivities and crafts, decolonial feminisms, and queer-of-colour critique.
“My (under)worldmakings tell entangled stories of creatures who craft obstacles for progress and development. Or more precisely: creatures who become themselves the obstacles. In my practice I try to articulate an embodied theory intertwined with nature and matter: a theory that can be danced, smelled, and touched. I build exuberant, crafty, and low cost elaborate handmade paraphernalia and attires. I embrace degraded aesthetics that involve no mastery but inventive capacities and affective manual labour.In my aspiration to interanimate a queer reasoning with a decolonial imperative, I find a zone of contact that attempts to recover the pulse of life in its multiplicity, ambiguity, and unpredictability.”
Location: Amare Jazz 4.
Friday - Sunday: 12:00 - 20:00