Throughout ten years of intense work, Regina José's body has been transformed into a presence and a grammar of the collective memory of which no one wants to know about.   While a monument celebrates and treats as an object an event capable of being praised and dignified through the perpetuation of dates and symbolic materials, her performance work, because of its ephemeral essence, deals with acts that are hard to grasp, even those laden with blame and shame that the community tends to keep out from since they are viewed diametrically opposite to its culture.  

Bearing in mind that violence and its effects are integral parts of this culture, the work of Regina José demands an ethics of common memory, but one that strikes different chords, in order to steer clear of unequivocal concepts of great truths and of history as a unitary trace of events. To begin with a monolithic bust of her own image, is the best way to provoke us, mobilize us and introduce us to a body of work that has been based on an interest in dismantling the different structures of power that are part of a culture of violence.  In addition, the artist has taken up performance as a way of making a connection with a collective pain free from guilt and one that, in the process of understanding what makes itself work, seeks the possibility of putting an end to its own grief.


Regina José Galindo (Guatemala, 1974) belongs to the generation of artists that emerged in Guatemala between 1998 and the beginning of 2000, finding its voice within an urban artistic scene associated with rock, literature, counter-cultural projects, public events, and the use of languages radically opposed to any previous artistic experiments developed in this Central American country.  Her generation was marked by the failed promise of the 'peace accords' signed in 1996 and the image of a Historic Center of the capital that had succumbed to ruin and abandonment.




Authors : José Luis Barrios, Rosina Cazali

Language : Spanish


Price: $55