The show spotlights the final phase of Mendieta's fascinating career, which was cut short by her tragic death in 1985.
were created entirely out of the physical environment, across three different sites in Cuba: Jaruco, Varadero, and Guanabo. They take shape out of limestone, sand, and dirt, evoking Indigeneous symbolism. Mendieta documented her creations with a medium-format camera, archiving them in pristine, dramatic, grayscale photographs. Today, art historians have made pilgrimages to the caves where she worked, finding the faded remnants of these ethereal carvings as they are subsumed back into nature.
Mendieta's earthly figures were not anonymous or unspecific — rather she named them after Taíno deities, likeis one of several works made in the caves of Jaruco, once home to Native Cubans and used as a hideout for rebels who fought for independence from Spain.
Mendieta's silhouette imprints naturally make us wonder about the bodies which once lay there. Given she returned to America after making this series, the marks that she left behind at once evoke the turmoil of forced migration and her resistance against it.
Following her death, protestors gathered at exhibitions of her former husband's work with banners reading"WHERE IS ANA MENDIETA?" In her book of the same name, art historian Jane Blocker writes that"by asking where she is, the demonstrators are really asking where she is not" — that is, alive, being widely exhibited or taught, or included in the canon.
France Dernières Nouvelles, France Actualités
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