February 09 - December 16, 2023. Madrid, SP

RED ITINER 2023 – Madrid Region

280 Chibatadas is part of En Escena, a travelling exhibition touring 12 galleries in the Community of Madrid as part of RedItiner 2023 and a reaffirmation of the presence of female photographers on the contemporary art scene.

The platform Cómo ser Fotógrafa was created in 2021 with the aim of showing the active and creative role that contemporary women photographers have taken on, without which the art scene would be completely disfigured.

En escena offers an extensive catalogue of the work of twenty Latin American women photographers with a solid professional career. The aim of this heterogeneous exhibition is to raise awareness of the value that photography by women has achieved today, so that the cultural panorama can incorporate this fundamental element for understanding the contemporary art scene. Thanks to the contributions of these 21st century artists, who present plural identities and styles, the photography scene is exponentially enriched, and the broad spectrum of the proposals selected for this exhibition bears witness to the active participation of these creators today.

9 February – 1 March. Centro Cultural La Despernada (Villanueva la Cañada)

3 March – 27 March. Centro Cultural Isabel de Farnesio (Aranjuez)

21 April – 17 May. Centro Municipal de las Artes Buero Vallejo (Alcorcón)

19 May – 10 June. Centro Cultural (Pedrezuela)

13 June – 2 July. Ayuntamiento (Lozoyuela-Navas-Sieteiglesias)

27 July – 16 August. Casa de la Cultura (Collado Mediano)

12 September – 3 October. Centro Cultural Padre Vallet (Pozuelo de Alarcón)

5 October – 25 October. Casa de la Cultura Alfonso X el Sabio (Guadarrama)

27 October – 19 November. Centro Socio-Cultural Arango (Loeches)

21 November – 16 December. Casa Museo Julio Escobar (Los Molinos)

About Project

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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