August 31, 2019 - January 13, 2020. Puebla, MX

Museo Amparo

Africamericanos is a transmedia project that addresses the legacy and importance of the Afro-descendant population of Latin America and the Caribbean under the curatorship of Claudi Carreras. The exhibition is configured as a visual journey through the elements of identity, racism, worldview, and history of Afro-descendants through the work of 70 artists. To enter Africamericanos is to immerse oneself in a sea of 40 artistic projects, from audiovisual media, projections, installations, photographs, testimonies and even books that marked the research and testimonies in their respective contexts.

280 Chibatadas is a much more personal and painful work that creates a significant contrast to the celebration of Humanae's diversity

Majo Andrade


October 28, 2019

Fotógrafas cierran encuentro con un conversatorio

October 24, 2019

Retratar el dolor

November 10, 2019

Por la belleza de la diversidad

About 280 Chibatadas

Brazil was the last country in Latin America to abolish slavery, after having imported more African slaves than any other Latin American country from the sixteenth century on. It is also one of the countries that most flaunts its “racial mix and diversity.” For the centennial of the abolition of slavery in 1988, the Universidade de São Paulo carried out a survey in which 96% of those interviewed stated they were not racially prejudiced, while 99% said they knew someone who was: “Every Brazilian feels like an island of racial democracy surrounded by racists on all sides.”

The photographs from a family album of a girl of African descent invite us to participate in a game evoking an average person’s childhood and everyday life. A 280-character tweet is enough to strip bare the tableau of Brazilian wonders, transforming the spectator into a questioner facing brutal banalities and a fatal dehumanization of the other, very much in the present. Well into the twenty-first century, the internet reestablishes a daily reality that shows the incredible power contained in the “single history” and the legacy of its creators or disseminators, as it comes to form part of the collective imaginary, with its gradation of tones and self-definitions: ubiquitous, in spite of the symbolic gestures that lose their meaning and end up being mere excuses, justifications. The aberrant has become natural, licensed.


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