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{"id":242069,"date":"2024-01-01T16:40:00","date_gmt":"2024-01-01T21:40:00","guid":{"rendered":"https:\/\/esse.ca\/compte-rendu\/a-llegades\/"},"modified":"2025-10-06T10:33:57","modified_gmt":"2025-10-06T15:33:57","slug":"a-llegades","status":"publish","type":"compte-rendu","link":"https:\/\/staging.esse.ca\/en\/reviews\/a-llegades\/","title":{"rendered":"A.llegades<\/em>"},"content":{"rendered":"\n
Attention to detail matters. In contemporary-art spaces, it is often the small touches that make the difference\u200a\u2014\u200athe care given to the works, but also the invisible through-lines that draw them together. In A.llegades <\/em>at the FOFA Gallery, the dried plantain leaves on the title wall that spell the names of the exhibition and the participating artists are an example of this type of intention. For curator Mar\u00eda Andre\u00edna Escalona De Abreu, these deliberate moments evoke a desire to generate proximity, inviting the viewer to look closer.<\/pre>\n\n\n\n
A.llegades <\/em>takes the concept of arrival to ask how Latinx artists from various cultural backgrounds can coexist in their respective diasporic identities, coalescing as first- and second-generation immigrants on the unceded territory of Tiohti\u00e1:ke\/Montr\u00e9al. In the main exhibition space, Juan Pablo Hern\u00e1ndez Guti\u00e9rrez\u2019s No se ve (The business, J balvin)<\/em> (2023), a monumental piece composed of a bright patchwork of yellow, red, and blue bootleg soccer jerseys, reigns over one of the walls. Guti\u00e9rrez appropriated an image of the Colombian reggaeton singer J Balvin, printing it on this dazzling textile surface and then attaching it to a perfunctory mechanism that allows the fabric to be rolled up and down, echoing the liveliness of South and Central American football stadiums.<\/p>\n\n\n\n
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\"Emiliano-Moreno_Quesada\"
Emiliano Moreno Quesada<\/strong>
Banco-02<\/em>, installation view, FOFA Gallery, Montr\u00e9al, 2023.
Photo: Laurence Poirier<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Hanging across from Guti\u00e9rrez\u2019s raw, fractured image is another striking textile. Sarabeth Trivi\u00f1o\u2019s Cartographie : sur les traces des femmes <\/em>(2023), an earthy map weaving together jute, embroidery thread, cotton, wool, and copper. Recalling traditional Chilean arpilleras<\/em>, which were used by women during the military dictatorship to denounce violence and tell their own stories, the work is both solemn and alluring. From up close, the hand-stitched and intensely detailed piece gives a sense of individuality to each trace; from a distance, the patchwork becomes abstract, a broader reflection on women\u2019s collective migratory journeys and the importance of keeping their memory alive.<\/p>\n\n\n\n
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\"Sarabeth-Trivino\"
Sarabeth Trivi\u00f1o<\/strong>
Cartographies : sur les traces des femmes<\/em>, installation view, FOFA Gallery, Montr\u00e9al, 2023.
Photo: Laurence Poirier<\/figcaption><\/figure>\n<\/div>\n\n\n\n
<\/div>\n<\/div>\n\n\n\n
In the installation Dentro del Almacen [Inside the Warehouse] <\/em>(2023), the Venezuelan artist Armando Rivas also invites viewers into his world. The altar he has created from repurposed wood is inspired by European sculpture and Mexican muralist traditions. Affixing the piece to the wall, Rivas also carves an opening for viewers to see beyond the drywall into an unused backroom. As a collage of the life-threatening events that Rivas experienced while working in different warehouses, the altar is both a storytelling device and a piercing conceptual tool. Peeking into a dis-regarded space of the FOFA Gallery, Rivas evokes warehouses as sites to which many Central and South American workers are directed for labour after arriving in Qu\u00e9bec and are subsequently forgotten.<\/p>\n\n\n\n
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<\/div>\n\n\n\n
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\"Armando-Rivas\"
Armando Rivas<\/strong>
Dentro del Almacen [Inside the Warehouse]<\/em>, installation view, FOFA Gallery, Montr\u00e9al, 2023.
Photo: Laurence Poirier<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
Interweaving all these notions of proximity is Denise A. Olivares\u2019s Untitled<\/em> (2023), a vibrant, crocheted circle made from found materials and clothing items from each participant in A.llegades<\/em>. Like all the works in the exhibition, Olivares\u2019s contribution teases out the complex connections among Latinx individuals, their stories, and a broader, collectively embodied memory that bridges geographies in this new, adopted Montr\u00e9al landscape. Repeatedly, with both poetic beauty and incisive truth telling, the intimate yet graspable works in A.llegades <\/em>are a reminder that arriving is not a simple experience for those who have left their homes to settle in this so-called belle province<\/em>.<\/p>\n\n\n\n
A Postdoctoral Fellow in the Department of Art History at Concordia University, Montr\u00e9al, Didier Morelli holds a PhD in performance studies from Northwestern University, and his writing has been published in Art Journal<\/em>, Canadian Theatre Review<\/em>, C Magazine<\/em>, RACAR<\/em>, Theatre Research in Canada<\/em>, and The Drama Review<\/em>, among others.<\/p>\n
Armando Rivas, Didier Morelli, Emiliano Moreno Quesada, Sarabeth Trivi\u00f1o<\/div>
Armando Rivas, Didier Morelli, Emiliano Moreno Quesada, Sarabeth Trivi\u00f1o<\/div>","protected":false},"excerpt":{"rendered":"FOFA Gallery,<\/strong> Montr\u00e9al
July 24\u200a\u2013August 25, 2023<\/br>","protected":false},"author":15,"featured_media":242062,"template":"","categories":[884],"numeros":[6774],"disciplines":[],"statuts":[],"checklist":[],"auteurs":[905],"artistes":[6831,6827,6829],"thematiques":[],"type_compte-rendu":[],"class_list":["post-242069","compte-rendu","type-compte-rendu","status-publish","has-post-thumbnail","hentry","category-reviews","numeros-110-agriculture-en","auteurs-didier-morelli-en","artistes-armando-rivas-en","artistes-emiliano-moreno-quesada-en","artistes-sarabeth-trivino-en"],"acf":[],"_links":{"self":[{"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/compte-rendu\/242069","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/compte-rendu"}],"about":[{"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/types\/compte-rendu"}],"author":[{"embeddable":true,"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/users\/15"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/media\/242062"}],"wp:attachment":[{"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/media?parent=242069"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/categories?post=242069"},{"taxonomy":"numeros","embeddable":true,"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/numeros?post=242069"},{"taxonomy":"disciplines","embeddable":true,"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/disciplines?post=242069"},{"taxonomy":"statuts","embeddable":true,"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/statuts?post=242069"},{"taxonomy":"checklist","embeddable":true,"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/checklist?post=242069"},{"taxonomy":"auteurs","embeddable":true,"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/auteurs?post=242069"},{"taxonomy":"artistes","embeddable":true,"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/artistes?post=242069"},{"taxonomy":"thematiques","embeddable":true,"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/thematiques?post=242069"},{"taxonomy":"type_compte-rendu","embeddable":true,"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/type_compte-rendu?post=242069"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}