Fini. Done.
La galeria vacia... 
Wednesday, March 24, 2010
Monday, March 22, 2010
DONE!!!
Last day. Visit with 5 of my grandchildren .jpg)
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Monday, March 22 2010. I had an upset stomach. Nausea. I blamed a chicken sausage we ate last night...It was an effort to get up after a long night with no sleep.
Images from the visitors, their comments, views of the Gallery. A very strong image, tThe visit with my five grandchildren the last day of the Installation, last Friday.
Hugs, so many hugs received.
When I finished setting it up (Friday February 26th) I told my work: "You are on your own, it's your time to ask the questions! I've done my work!" and left, very tired.The show went by, on it's own, yes. It stood up. People came and walked the Labyrinth, felt the sculptures, played with the old worn shoes on the floor, every time I came back as a spectator now, found changes made.
Comments written, sent, phone calls, messages. It did it's own work, it planted questions at the core. In Spanish we say "la obra". It did it's work, my work.
So it is Monday, time to take it down.
Hanne and Bruce come, gave us support along with Marie and Jane. Thank you each, with my upset stomach just the two of us would not have done it. We folded each garment, organized what goes to whom. The footprints in a box, the 300 shoes in 6 garbage bags for a next show that is being conceived. The sculptures became bare, naked bodies, went in a box. Carroll's hats carefully placed so they don't lose the feathers and flowers. Each piece I felt I knew, whose it is, what is the little story it tells. In a couple of hours we were finished. Done.
The seed is in my garden. I know many seeds were planted in people's hearts with the question, -Why do we cover our body?
They have been touched, will remember to feel women's steps and protection, needs and traditions, but mainly our need of autonomy and freedom.
Ottawa, March 22, 2010.
Tuesday, March 9, 2010
Video, photos and opening of the exhibition
Durante la apertura de la exposicion, una mirada a la Galería de la UNAM-CanadaDuring the opening, a general view of the Gallery, worn shoes labyrinth and the sculptures ¨Empty Bodies¨ . International Women´s Day, March 8th 2010
Photos at http://picasaweb.google.ca/Rosario.Umana/2010VernissageInauguracionExposcionMarzo8#
Monday, March 8, 2010
Marzo 8 2010. Vernissage. Hoy es el dia
Estas son las palabras que terminé de escribir anoche para la apertura esta noche.
No sé cómo será, si voy a decirlas o resultará algo diferente. Ni idea...
Pero esto, así en expañol e ingles, es lo que tengo preparado.
Estará allí Lysanne para ir intercalando en francés, si es necesario.
Veremos. Veremos...
We shall see........ below, en Spanish and English what I finished writting last night.
Will see how it comes... If I say something, use these words or not...
We shall see....
Se hace camino al andar...
Apertura Instalación. Marzo 8 2010. UNAM Canadá
Bienvenida.
Agradecimientos. UNAM, Dr. Fernandez, Director
Isabelle Bellanger, Leo.
Gracias por el apoyo, Ricardo. Siempre ahí
Alejandro. Paciencia y disponibilidad
Hanne, Bruce. Tiempo, trabajo y amistad. Libby, Chandler, Mike, Jose.
Por las traducciones, Diane
Monica Beltrán, Consul de Colombia, cuando le conté, ella creyó en esto.
Corrió la conferencia de Diana Uribe para mañana para estar aquí.
Ontario Arts Council, por un refuerzo para el montaje
Amigos y amigas que compartieron sus ropas.
St Vincent de Paul por los zapatos.
Y a ustedes, Gracias por estar aquí.
Cuando me enteré de la invasión a Iraq sentí rabia e impotencia.
Tengo que hacer algo... el arte es mi lenguaje, realicé la escultura Oración por la Paz, expuesta aqui en UNAM, abajo en la biblioteca.
Cuando me enteré del asesinato de mujeres en Ciudad Juárez, en la frontera con los Estados Unidos, comencé a hacer ángeles.
Transformar el dolor y violencia contra la mujer en ángeles...
Fueron resultando ángeles en todas partes, Asia, Africa, AL, aquí y allá. Los sigo haciendo. La violencia continúa.
Hoy es el Dia Inernacional de la Mujer, en muchos países honramos a las mujeres. Hay marchas, películas, actividades y aquí estamos en esta Exposición.
El año pasado se llevó a cabo un debate sobre la presencia de Canadá en Afghanistán. Qué sentido tiene estar allí, muchachos muriendo, hasta cándo? Esta pregunta me llevó a leer, indagar sobre lo que viven las mujeres en Asia Central, su historia, religión y cultura, ese país corredor, pisoteado a lo largo de la historia.
Entonces surge la pregunta. Por qué se cubren las mujeres? Desde cuándo, por qué lo hacen hoy?
Por razones históricas, políticas, culturales? Por tradición o por religión?
Sometimiento? obediencia? Identidad? Protección?
Por qué se cubren las mujeres en diversos lugares, en todos los tiempos? Por qué lo hacemos hoy?
Decidí realizar una Obra de Arte, al rededor de estas preguntas. Con gran amor y profundo respeto por ellas, por cada una de las mujeres aquí representadas en un zapato viejo, en un chal, en ropa íntima, en una burqa.
Y comencé a trabajar. Recoger. Y a recordar.
De niña, teníamos que ir a la iglesia cubiertas con un velo o una mantillas.
Para ir ¨al centro¨ usábamos guantes y sombrero.
Las monjas del colegio vivían cubiertas, las santas en los altares, cubiertas. Recordando las catedrales en Europa, en la iconografía medieval, la mujer siempre está cubierta, es su feminidad.
Por qué y cómo nos cubrimos las mujeres hoy? Y mis preguntas se fueron haciendo más amplias o profundas...
Por moda, por sexo, imposición? Sumisión? Como respuesta a la agresión y miradas de los hombres? Otros hombres? Cuándo nos descubrimos... y por qué? ante quién?
Qué quiere decir el color en la forma como cubrimos nuestro cuerpo... el blanco, el negro, los colores fuertes. Color y cultura, cómo nos vestimos en A Latina, en Africa. Cuándo significa el color libertad o sometimiento, sumisión?
Cómo se expresan los roles por la forma de vestir? Las mujeres hemos cargado a los hijos en la espalda desde... siempre! Con el rebozo mexicano o la tira centroamericana o la manta de nuestras mujeres Wayu para cargar sus hijos se ha generalizado y las madres y padres jóvenes usan el cargador copiado de ellas.
Algunas esculturas muestran la ropa de los intensos años 60. A los Hippies les debemos un cambio en paradigmas hasta entonces inamovibles. La ropa unisex, la minifalda, el uso del jean, denim en cualquier persona, sin importar genero, edad, peso. Les debemos la simplicidad, sencillez y autenticidad. Cambiaron la forma como nos relacionamos. Y llegó la píldora.
Por último, cómo cubren su cuerpo las jóvenes. Hoy. aquí en Norte América y en nuestros países del sur buscan parecerse e identificarse cada vez más con ellas. La moda impone ropa diminuta, camisetas abiertas, cortas y unos jeans con los cuales la cadera, el ombligo y la linea de la nalga se asoma.
A veces me pregunto si se visten para vivir o viven para vestirse, cubrir o descubrir su cuerpo. Me maravillan las jóvenes de hoy. Tienen las prerrogativas por las cuales luchamos nosotras en los 70. La equidad es una lucha que permanece en ellas, son seguras de sí, su movimiento corporal es libre. Tienen mucha presión del grupo, de los medios, de la moda, cómo debe ser su cuerpo y cómo deben cubrirlo o mostrarlo y a quién.
De qué se trata la Instalación?
De tocar al que venga, la visite. De suscitar otras preguntas.
El Laberinto es para ir caminando en los zapatos de todas estas mujeres, cuántos pasos han dado estos zapatos usados. Dónde y en qué condiciones... desplazadas, como lo son millones en nuestro país, huyendo o buscando una vida digna, como las inmigrantes a este magnífico país que es Canadá, hecho de inmigrantes.
Llegar al centro del Laberinto es llegar al núcleo, el útero, lo íntimo de nosotras mismas que somos la vida, la semilla. Este centro es una invitación para expandir la forma de mirar el mundo, de abrirse a diversas formas de espiritualidad, antiguas y contemporáneas. En esta gran semilla, rodeada de ángeles guardianes de nuestro Ser, encontrarán un papel con una pregunta... para llevarsela puesta.
Los invito a gozarse y sentir en estas esculturas de cuerpos vacíos a las mujeres que se cubrieron con chales, mantos, ropas íntimas, jeans o de celebración y gala. Son cuerpos vacíos porque nuestro Ser es el que camina, es el de las mujeres abriendo camino al andar... como dice Machado en su inolvidable poesía ¨caminante, no hay camino, se hace camino al andar¨.
Welcome. Gracias. To UNAM, Dr. Fernandez, Director for making this possible.
Isabelle Bellanger, Leo.
Thanks for the support, Ricardo. Always there.Alejo, for your patience and availability
Hanne, Bruce. Time, work and friendship. Libby, Chandler, Mike, Jose.
For your translations, dear Diane
Gracias, Monica Beltran, Consul of Colombia, when I told her about my work, she believed in it.
Thank you for moving Diana Uribe´s conference for tomorrow, thanks for being here.
To the Ontario Arts Council, for the financial support for the exhibition.
To friends who shared their garments and worn shoes.
St Vincent de Paul for gathering 300 worn, old shoes.
And to you, Thanks for being here.
When I learned of the invasion of Iraq I felt anger and impotence.
¨I must do something¨ Art is my language, so I made the Prayer for Peace sculpture, in display at the entrance of UNAM´s library downstairs.
When I heard about the murder of women in Ciudad Juarez, at the border between the United States and Mexico, I began making angels. Flying, free angels.
Transforming pain and violence against women into angels ... many angels, 100 were in a show here.... and I still make them. There is violence everywhere, Asia, Africa Latin America, here. Everywhere. Violence continues. An I keep on making angels as a prayer to stop violence against women.
Today is International Women´s Day celebrated in many countries honoring women. There are marches, films, activities and here we are in this Exhibition.
Pause for free translation
Last year the Canadian government conducted a debate on it´s presence in Afghanistan. Does it make sense being there, young men dying in this absurd war? Till when? So I started to inquire, to read about women from Central Asia, Middle East. Their history, religion and culture. That millenary region, such violence.
Why are women covered? Since when, why do they do it today?
Are the reasons political, cultural, tradition or religion? Submission? obedience? Identity? Protection?
Why are women covered in those regions, at all times? Why today?
Pause for free translation
So I decided to work. To do this Installation. With great love and deep respect for them, for each of the women represented here by an old shoe, a shawl, in lingerie, in a burqa.
I started working. Collecting. And remembering.
As a child, girls and women had to go to church covered with a veil, a shawl or a hat.
To go "downtown" we dressed up, wore gloves and hats.
Nuns at school were never exposed, they were fully covered. Women saints in temples were covered. Recalling iconography in medieval cathedrals in Europe women are always covered, is it the expression of their femininity and identity?
Why and how do we cover our body today? questions became broad and complex...
Fashion, sex, tradition? Submission? In response to possible aggression from the sight of men? Other men? When do we uncover. Why? for whom?
What does color mean in the way we cover our body ... white, black, bright colors. Color and culture, the way we dress in Latin America, in Africa. Does color mean liberty or bondage, submission?
How are roles revealed by the way we dress? Women have always carried children on their back. With the sling or ¨rebozo¨ of Mexican or Central American or the manta our Wayu women use to carry their children; now young mothers and fathers carry their babies in a sling. The same.
A few of the sculptures represent the intense 60´s. We owe Hippies change. Paradigms were set. Unisex clothing, mini skirts, up to now anyone uses denim jeans regardless of gender, age, weight, income. We owe them simplicity and authenticity as a value. They changed the way we interact. Many things happend during the 60 and 70´s. And the pill came
Finally, how do young kids cover their body today. Here in North America and in countries that seek to look and feel identified with them. Fashion imposes tiny clothes, open shirts, mini shorts and skirt and jeans with exposed hip, navel and buttocks line.
Sometimes I wonder if they dress to live or live to dress, how is it for them to cover or uncover their bodies. Today they have the privileges for which we fought in the 70s. Equity is a struggle that remains. They are sure of themselves, their body movement is free. They have great sense of humor and joy. But also they have a lot of peer pressure, from the media and from fashion.
What is this installation about? I wish to touch you. To entice you to raise other questions.
I invite you to walk the labyrinth in the shoes of women, feel as many steps as you can in these old shoes. Imagine where and under what conditions they have walked ... displaced, as are millions in our country, fleeing from war or seeking a dignity and opportunities in life, as immigrants to this great country. Canada is made of immigrants.
To Walk to the center of a Labyrinth, is to reach the heart, the core, the womb deep within ourselves, for we are life, the seed. This center is an invitation to expand the way of looking at the world openly, open to various forms of spirituality, ancient and contemporary. In this large seed, surrounded by angels that guard of our being, we find a small piece of paper with a question ... to take along, to ponder, to wear.
I invite you to enjoy the sculptures of women and their empty bodies covered with scarves, shawls, underwear, jeans and gala garments. Bodies and garments are empty. It is us who walk through life. As Antonio Machado says ¨caminante, no hay camino, se hace camino al andar¨.
No sé cómo será, si voy a decirlas o resultará algo diferente. Ni idea...
Pero esto, así en expañol e ingles, es lo que tengo preparado.
Estará allí Lysanne para ir intercalando en francés, si es necesario.
Veremos. Veremos...
We shall see........ below, en Spanish and English what I finished writting last night.
Will see how it comes... If I say something, use these words or not...
We shall see....
Se hace camino al andar...
Apertura Instalación. Marzo 8 2010. UNAM Canadá
Bienvenida.
Agradecimientos. UNAM, Dr. Fernandez, Director
Isabelle Bellanger, Leo.
Gracias por el apoyo, Ricardo. Siempre ahí
Alejandro. Paciencia y disponibilidad
Hanne, Bruce. Tiempo, trabajo y amistad. Libby, Chandler, Mike, Jose.
Por las traducciones, Diane
Monica Beltrán, Consul de Colombia, cuando le conté, ella creyó en esto.
Corrió la conferencia de Diana Uribe para mañana para estar aquí.
Ontario Arts Council, por un refuerzo para el montaje
Amigos y amigas que compartieron sus ropas.
St Vincent de Paul por los zapatos.
Y a ustedes, Gracias por estar aquí.
Cuando me enteré de la invasión a Iraq sentí rabia e impotencia.
Tengo que hacer algo... el arte es mi lenguaje, realicé la escultura Oración por la Paz, expuesta aqui en UNAM, abajo en la biblioteca.
Cuando me enteré del asesinato de mujeres en Ciudad Juárez, en la frontera con los Estados Unidos, comencé a hacer ángeles.
Transformar el dolor y violencia contra la mujer en ángeles...
Fueron resultando ángeles en todas partes, Asia, Africa, AL, aquí y allá. Los sigo haciendo. La violencia continúa.
Hoy es el Dia Inernacional de la Mujer, en muchos países honramos a las mujeres. Hay marchas, películas, actividades y aquí estamos en esta Exposición.
El año pasado se llevó a cabo un debate sobre la presencia de Canadá en Afghanistán. Qué sentido tiene estar allí, muchachos muriendo, hasta cándo? Esta pregunta me llevó a leer, indagar sobre lo que viven las mujeres en Asia Central, su historia, religión y cultura, ese país corredor, pisoteado a lo largo de la historia.
Entonces surge la pregunta. Por qué se cubren las mujeres? Desde cuándo, por qué lo hacen hoy?
Por razones históricas, políticas, culturales? Por tradición o por religión?
Sometimiento? obediencia? Identidad? Protección?
Por qué se cubren las mujeres en diversos lugares, en todos los tiempos? Por qué lo hacemos hoy?
Decidí realizar una Obra de Arte, al rededor de estas preguntas. Con gran amor y profundo respeto por ellas, por cada una de las mujeres aquí representadas en un zapato viejo, en un chal, en ropa íntima, en una burqa.
Y comencé a trabajar. Recoger. Y a recordar.
De niña, teníamos que ir a la iglesia cubiertas con un velo o una mantillas.
Para ir ¨al centro¨ usábamos guantes y sombrero.
Las monjas del colegio vivían cubiertas, las santas en los altares, cubiertas. Recordando las catedrales en Europa, en la iconografía medieval, la mujer siempre está cubierta, es su feminidad.
Por qué y cómo nos cubrimos las mujeres hoy? Y mis preguntas se fueron haciendo más amplias o profundas...
Por moda, por sexo, imposición? Sumisión? Como respuesta a la agresión y miradas de los hombres? Otros hombres? Cuándo nos descubrimos... y por qué? ante quién?
Qué quiere decir el color en la forma como cubrimos nuestro cuerpo... el blanco, el negro, los colores fuertes. Color y cultura, cómo nos vestimos en A Latina, en Africa. Cuándo significa el color libertad o sometimiento, sumisión?
Cómo se expresan los roles por la forma de vestir? Las mujeres hemos cargado a los hijos en la espalda desde... siempre! Con el rebozo mexicano o la tira centroamericana o la manta de nuestras mujeres Wayu para cargar sus hijos se ha generalizado y las madres y padres jóvenes usan el cargador copiado de ellas.
Algunas esculturas muestran la ropa de los intensos años 60. A los Hippies les debemos un cambio en paradigmas hasta entonces inamovibles. La ropa unisex, la minifalda, el uso del jean, denim en cualquier persona, sin importar genero, edad, peso. Les debemos la simplicidad, sencillez y autenticidad. Cambiaron la forma como nos relacionamos. Y llegó la píldora.
Por último, cómo cubren su cuerpo las jóvenes. Hoy. aquí en Norte América y en nuestros países del sur buscan parecerse e identificarse cada vez más con ellas. La moda impone ropa diminuta, camisetas abiertas, cortas y unos jeans con los cuales la cadera, el ombligo y la linea de la nalga se asoma.
A veces me pregunto si se visten para vivir o viven para vestirse, cubrir o descubrir su cuerpo. Me maravillan las jóvenes de hoy. Tienen las prerrogativas por las cuales luchamos nosotras en los 70. La equidad es una lucha que permanece en ellas, son seguras de sí, su movimiento corporal es libre. Tienen mucha presión del grupo, de los medios, de la moda, cómo debe ser su cuerpo y cómo deben cubrirlo o mostrarlo y a quién.
De qué se trata la Instalación?
De tocar al que venga, la visite. De suscitar otras preguntas.
El Laberinto es para ir caminando en los zapatos de todas estas mujeres, cuántos pasos han dado estos zapatos usados. Dónde y en qué condiciones... desplazadas, como lo son millones en nuestro país, huyendo o buscando una vida digna, como las inmigrantes a este magnífico país que es Canadá, hecho de inmigrantes.
Llegar al centro del Laberinto es llegar al núcleo, el útero, lo íntimo de nosotras mismas que somos la vida, la semilla. Este centro es una invitación para expandir la forma de mirar el mundo, de abrirse a diversas formas de espiritualidad, antiguas y contemporáneas. En esta gran semilla, rodeada de ángeles guardianes de nuestro Ser, encontrarán un papel con una pregunta... para llevarsela puesta.
Los invito a gozarse y sentir en estas esculturas de cuerpos vacíos a las mujeres que se cubrieron con chales, mantos, ropas íntimas, jeans o de celebración y gala. Son cuerpos vacíos porque nuestro Ser es el que camina, es el de las mujeres abriendo camino al andar... como dice Machado en su inolvidable poesía ¨caminante, no hay camino, se hace camino al andar¨.
Welcome. Gracias. To UNAM, Dr. Fernandez, Director for making this possible.
Isabelle Bellanger, Leo.
Thanks for the support, Ricardo. Always there.Alejo, for your patience and availability
Hanne, Bruce. Time, work and friendship. Libby, Chandler, Mike, Jose.
For your translations, dear Diane
Gracias, Monica Beltran, Consul of Colombia, when I told her about my work, she believed in it.
Thank you for moving Diana Uribe´s conference for tomorrow, thanks for being here.
To the Ontario Arts Council, for the financial support for the exhibition.
To friends who shared their garments and worn shoes.
St Vincent de Paul for gathering 300 worn, old shoes.
And to you, Thanks for being here.
When I learned of the invasion of Iraq I felt anger and impotence.
¨I must do something¨ Art is my language, so I made the Prayer for Peace sculpture, in display at the entrance of UNAM´s library downstairs.
When I heard about the murder of women in Ciudad Juarez, at the border between the United States and Mexico, I began making angels. Flying, free angels.
Transforming pain and violence against women into angels ... many angels, 100 were in a show here.... and I still make them. There is violence everywhere, Asia, Africa Latin America, here. Everywhere. Violence continues. An I keep on making angels as a prayer to stop violence against women.
Today is International Women´s Day celebrated in many countries honoring women. There are marches, films, activities and here we are in this Exhibition.
Pause for free translation
Last year the Canadian government conducted a debate on it´s presence in Afghanistan. Does it make sense being there, young men dying in this absurd war? Till when? So I started to inquire, to read about women from Central Asia, Middle East. Their history, religion and culture. That millenary region, such violence.
Why are women covered? Since when, why do they do it today?
Are the reasons political, cultural, tradition or religion? Submission? obedience? Identity? Protection?
Why are women covered in those regions, at all times? Why today?
Pause for free translation
So I decided to work. To do this Installation. With great love and deep respect for them, for each of the women represented here by an old shoe, a shawl, in lingerie, in a burqa.
I started working. Collecting. And remembering.
As a child, girls and women had to go to church covered with a veil, a shawl or a hat.
To go "downtown" we dressed up, wore gloves and hats.
Nuns at school were never exposed, they were fully covered. Women saints in temples were covered. Recalling iconography in medieval cathedrals in Europe women are always covered, is it the expression of their femininity and identity?
Why and how do we cover our body today? questions became broad and complex...
Fashion, sex, tradition? Submission? In response to possible aggression from the sight of men? Other men? When do we uncover. Why? for whom?
What does color mean in the way we cover our body ... white, black, bright colors. Color and culture, the way we dress in Latin America, in Africa. Does color mean liberty or bondage, submission?
How are roles revealed by the way we dress? Women have always carried children on their back. With the sling or ¨rebozo¨ of Mexican or Central American or the manta our Wayu women use to carry their children; now young mothers and fathers carry their babies in a sling. The same.
A few of the sculptures represent the intense 60´s. We owe Hippies change. Paradigms were set. Unisex clothing, mini skirts, up to now anyone uses denim jeans regardless of gender, age, weight, income. We owe them simplicity and authenticity as a value. They changed the way we interact. Many things happend during the 60 and 70´s. And the pill came
Finally, how do young kids cover their body today. Here in North America and in countries that seek to look and feel identified with them. Fashion imposes tiny clothes, open shirts, mini shorts and skirt and jeans with exposed hip, navel and buttocks line.
Sometimes I wonder if they dress to live or live to dress, how is it for them to cover or uncover their bodies. Today they have the privileges for which we fought in the 70s. Equity is a struggle that remains. They are sure of themselves, their body movement is free. They have great sense of humor and joy. But also they have a lot of peer pressure, from the media and from fashion.
What is this installation about? I wish to touch you. To entice you to raise other questions.
I invite you to walk the labyrinth in the shoes of women, feel as many steps as you can in these old shoes. Imagine where and under what conditions they have walked ... displaced, as are millions in our country, fleeing from war or seeking a dignity and opportunities in life, as immigrants to this great country. Canada is made of immigrants.
To Walk to the center of a Labyrinth, is to reach the heart, the core, the womb deep within ourselves, for we are life, the seed. This center is an invitation to expand the way of looking at the world openly, open to various forms of spirituality, ancient and contemporary. In this large seed, surrounded by angels that guard of our being, we find a small piece of paper with a question ... to take along, to ponder, to wear.
I invite you to enjoy the sculptures of women and their empty bodies covered with scarves, shawls, underwear, jeans and gala garments. Bodies and garments are empty. It is us who walk through life. As Antonio Machado says ¨caminante, no hay camino, se hace camino al andar¨.
Tuesday, March 2, 2010
Visperas, Just 4 days to go
a few minutes ago I wrote this note to my friend and Maestra, Marta Combariza. It somehow expresses how I am now.
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El lunes es el Vernissage. A las 6, para que te unas a la obra, no se cuantos iran, que va a pasar.
Pero al dejar la galería con todo armado y montado el viernes pasado, salí como si hubiera parido. Extenuada. Y allí quedó la obra, toda sola, después de un año de armarla, jonjoliarle, hacer, cambiar, dudar, soñar, conseguir, buscar, hacer 100 esculturas ¨cuerpos vacíos¨ en alambre de cobre y vestirlos con trapos de alguien, trazar el Laberinto con 300 zapatos viejos que han calzado a 150 mujeres por quién sabe qué recorridos y caminos... allí quedó, ahora la obra es autónoma. Es. Ella hará uso de su propio lenguaje, dirá lo que tiene que decir y le escuchará el susurro alguna mujer que pase por ahi... y yo estaré de espectadora de mí misma, ahi en silencio, aprendiendo lo que la obra me enseñe.
You may translate the lines, so instead, I add to it.
On Thursday and Friday we set up the Installation. Hanne and Bruce came early and we packed up 4 cars. Theirs broke down. so we had to repack in 3... It always happens!!!
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At 10 am we were nine working at the Gallery. 4 dear friends, Hanne, Chandler, Olga, Pilar. And 4 dear men giving us all the support, Ricardo, José, Mike and Bruce. A team.
I was there as an ant, small, running all over. Some time I felt as the director of a small orchestra, moving from one to the other, asking each one to do his part, to tune in. This or that. Intense. They left one by one and at 3 we were there, just Ricardo and I. Looking.
Now, pick up and go for a nice meal at a French Restaurant near by. Gatineau has good restaurants all over. It turned to be an Arabic one, ¨Fatima¨, with the sacred gold hand women hang on their neck in some Muslim places. I felt it as a good sign, a celebration.
Now, pick up and go for a nice meal at a French Restaurant near by. Gatineau has good restaurants all over. It turned to be an Arabic one, ¨Fatima¨, with the sacred gold hand women hang on their neck in some Muslim places. I felt it as a good sign, a celebration.
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On Friday Jane came and we went through each one of the 100 sculptures, fixed whatever had to be finished or done, made the link between the old shoes in the Labyrinth and again at 3 it was done.
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Now for real. I felt as empty as one feels after birth. The baby is not there. I was as exhausted as I remember feeling after birthing. I gave birth to my Installation. It is there. On it´s own, now she has to say whatever she must to whoever will listen or be there. I don´t know. This feeling of not knowing, of letting go of it. Now I will be a spectator of my own work, see what language it develops and listen to whatever I must learn from it. Until March 19th, when we close.
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Sunday, February 14, 2010
"Empty Bodies" 100 sculptures for the Installation
I will have a printed page for each one os the 100 sculptures, in French, Spanish and English, with a few lines telling about the garment, whose it is, and what it means for our questions on "coverring our bodies".
Jupe brodée du LaosFalda bordada de Laos
Skirt worn by Hmong women in Laos
Another cotton shawl and skirt worn by Hmong women in Laos, Jane's collection
Kangas are versatile cloths that can be wrapped around the waist or shoulders or on the head or used as a baby sling. Books have been written on the many uses of kangas. Jane accumulated quite a few while living in Kenya and Uganda in the 80's and 90's
Olga is traveling back to Colombia. She left me her cook's apron for the exhibition and for my cooking after, when I will miss her, I shall wear it and remember good times together here in Canada
Maria's friend Elisee Azarakhsh lent us this praying shawl, a shador. It just covers the head and the whole body for prayer. She also lent me two beautiful silk saris from India
Another of Jane's pieces. This one is a cotton shawl from Ethiopia 
My friend Jane Snider lived and worked in Laos and East Africa for several years with an NGO for development. Jane has a collection of beautiful shawls, skirts, prints, jackets... worn garments from women she worked with and shares them for the Installation. Here are some of them. and this is a Kanga from Kenya, also from Jane's collection.
Wednesday, February 10, 2010
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