Regina José Galindo's performances are
often shocking and degrading. Sometimes
naked, she is tasered, hit, bloodied, anesthetized,
urinated on, or left for dead.
"Bearing Witness," at North Carolina's
David son College last fall, was Galindo's
first solo show in the United States. Curator
Lia Newman gathered an intense selection
featuring video and photographic
documentation of past performances, performance
artifacts and props, and a new
work commissioned and produced by the
college. Although the form of Galindo's
work is indebted to '70s performance art,
its content has little relation to art historical
tradition; instead, it raises an
immediate, intensely personal expression
Much of Galindo's work is roote d in the
recent history of Guatemala, going back
to the brief, genocidal rule of Efraín Ríos
Montt in the early 1980s and its long, vile
aftermath. Under Montt and his head
of military intelligence, José Mauricio Rod -
ríguez Sanchez, thousands of Mayans
were killed or displaced. Neither Montt nor
Sanchez has ever been held fully accountable,
and indigenous people in Guatemala
continue to be exploited.
...see the entire article in the print version of November's Sculpture magazine.
The Rubicon, 2016. Detail of installation in Coloradas
Bay, Lanzarote, Canary Islands, Spain.