“Among the works exhibited, we especially liked Alexandra Bravo’s “Desarraigando”, which means, uprooting. A particularly bright and colorful work made with dyed feathers,” expresses the text in reference to someone who is considered an icon of feather art in the Amazonian Andean country.
The text refers to the address www.visit-venice-itali.com/bienale-art-venice-2024.htm, that Bolivia occupies the Russian Pavilion this year, transferred after the decision of Russian artists not to participate in this edition of the Biennale due to the war in Ukraine.
“Bolivia presents the Qhip Nayra Untasis Sarnaqapxanani project, which reflects the way of life of the Aymara people (…). They believe that the past and the future must move forward together, continually giving meaning to the present,” the writing adds.
In communication via Internet with Prensa Latina, the artist valued the opinion expressed in a specialized publication of global prestige as “great recognition,” and thanked the authorities of her country.
“It was a success that they invited me to represent our country along with other Bolivian creators at the world exhibition that takes place from April 20 to November 24 with the theme Foreigners everywhere,” he said in an exclusive interview granted to the Prensa Latina.
Bravo expressed his gratitude to this news agency and Russia, which gave its space to Bolivia to attend with its own pavilion and a curatorial proposal to one of the oldest and most prestigious artistic events on the planet, founded in 1895.
He explained that this year, the Biennial raises great expectations because, for the first time, it has a Latin American curator as its director of Visual Arts, the Brazilian Adriano Pedrosa, known for his successful career and his work as artistic director of the Sao Paulo Museum of Art, Assis Chateaubriand.
As general curator for the 2024 Venice Biennale, Pedrosa expressed a bold and committed vision for diversity and inclusion in contemporary art that challenges Eurocentric narratives, and proposed the theme Foreigners Everywhere, Bravo commented.
“In this sense, I participated in the project Art with Feathers: Nobody is Illegal in the World, in which feathers help me express and denounce the situation of undocumented Latin American Migrant Women in Europe and their contribution to that society,” the artist reported.
She added that in this way her art becomes a testimony of the problems of migrants, of undocumented women.
When referring to the exhibition, she described that it consists of compositions of linked feathers that help her express the situation of Latin American migrant women in Europe, as well as medium and large installations.
“Likewise,” Bravo stressed, “owning a pavilion allowed me to exhibit costumes from my Marca País collection based on feathers on a catwalk, and give the conferences Importance of Plumaria Art in the Abya Yala Continent, as well as Mal de País: women undocumented migrants in Europe.
In this regard, she thanked the collaboration of the Italian-Bolivian curator Renato Di Marchi.
ef/lam/jpm
