The rich text element allows you to create and format headings, paragraphs, blockquotes, images, and video all in one place instead of having to add and format them individually. Just double-click and easily create content.
A rich text element can be used with static or dynamic content. For static content, just drop it into any page and begin editing. For dynamic content, add a rich text field to any collection and then connect a rich text element to that field in the settings panel. Voila!
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The rich text element allows you to create and format headings, paragraphs, blockquotes, images, and video all in one place instead of having to add and format them individually. Just double-click and easily create content.
A rich text element can be used with static or dynamic content. For static content, just drop it into any page and begin editing. For dynamic content, add a rich text field to any collection and then connect a rich text element to that field in the settings panel. Voila!
Headings, paragraphs, blockquotes, figures, images, and figure captions can all be styled after a class is added to the rich text element using the "When inside of" nested selector system.
Paulo Nazareth (Brasil, 1977) nos invita a recorrer Luzia, su primera exposición individual en México que amalgama décadas de trabajo del artista a través de una variedad de medios y soportes. Nazareth, quien se identifica como integrante del Pueblo de Luzia (Povo de Luzia), presenta un ejercicio de especulación historiográfica en busca de la enigmática figura llamada Luzia: un fósil, un ancestro, una santa, una ciudad, un pueblo y territorio afroindígena.
Nazareth es conocido por su “arte de conducta”, una práctica artística que se desarrolla en los movimientos radicales que realiza al cruzar fronteras a pie. Al activar la memoria corporal y guiado por una temporalidad en espiral, el artista desafía la autoridad de los discursos científicos negociando el complejo terreno de la identidad latinoamericana.
Al reflexionar sobre la economía racial y las actualizaciones coloniales en nuestro mundo contemporáneo, Luzia destaca la relevancia de México (como lugar y contexto) para este artista que nos muestra cómo los desplazamientos forzados y los flujos migratorios reconfiguran las huellas históricas que fundaron e imposibilitaron la idea de una humanidad unificada.
Curaduría por: Fernanda Brenner y Diane Lima
Asistencia curatorial: Mel Marcondes y Lena Solà Nogué
Paulo Nazareth (Brazil, 1977) invites us to walk through Luzia, his first solo exhibition in Mexico, which spans decades of his work across a diverse range of media. In the exhibition, Nazareth, who identifies as a member of the People of Luzia (Povo de Luzia), presents an exercise of historiographical speculation in search of the enigmatic figure called Luzia: a fossil, an ancestor, a saint, a city, an Afro-indigenous people and territory.
Nazareth is known for “behavior art,” (arte de conducta) an artistic practice rooted in radical movement, such as his crossing borders on foot. By mobilizing the body’s memory and guided by a spiral temporality, he challenges the authority of scientific discourse and negotiates the complex terrain that is Latin American identity.
By reflecting on how race affects the economy and how colonial ideas are still present in our contemporary world, Luzia highlights the relevance of Mexico (as a site and context) for this artist who shows us how forced displacement and patterns of migration have reshaped the historical factors that made the idea of a unified humankind impossible.
Curated by: Fernanda Brenner and Diane Lima.
Para socializar la heterogeneidad de voces que construyen la exposición colectiva OTRXS MUNDXS y profundizar en el discurso de las obras exhibidas en el Museo Tamayo, le pedimos a lxs artistas que nos hablen acerca de los conceptos o ideas que son importantes para expandir los discursos o motivaciones de su práctica.
