Descripción de la Exposición
"Neither One Nor the Other, but a Wound" is an exhibition by New York-based Colombian artist Camilo Godoy, curated by Angelica Arbelaez. This thought-provoking showcase presents photography, performance, and sculpture to delve into historical and contemporary issues.
Marking his first solo exhibition in Miami, Godoy expands his exploration of collective movement and choreography with new works and recent photographs. The exhibition builds upon his recent residency at the New Museum, NY, a prestigious program supporting artists at the intersection of performance, pedagogy, and participatory art.
Opening reception: Opening Reception: Sunday, December 1st, 11:00 AM–4:00 PM, in conjunction with the Progressive Art Brunch, Miami Art Week 2024 Edition
The centerpiece of the exhibition is a video titled “Renacemos a cada instante” (We are reborn at every moment), which documents a recent performance by Godoy with performers Reginald Thomas Brown, Iliana Penichet-Ramírez, Gabriel Reyes, and Sasha Ono at the New Museum in New York. The work depicts an ensemble of dancers moving through a dense fog in an evocatively lit space. Led by the sound of a cello, the dancers perform choreographies based on improvisation and inspired by mourning practices that celebrate the cycles of life and death. Their bodies move with ease, making gentle gestures that ebb, sink, and fall away. For the presentation at Dot Fiftyone Gallery, the exhibition space will be similarly engulfed in a yellow-orange-hued light, inviting visitors to feel immersed in the work.
The exhibition will also include three photographs from Godoy’s series, What did they actually see?. The haunting images depict a lone figure making dramatic poses in near complete darkness. The series reckons with the historical impact of prejudices advanced by Christian missionaries against Black and Indigenous peoples of the Americas during the 17th and 18th centuries. Godoy studied written accounts and anthropological records that described ritual dances performed by native communities near present-day Colombia in a pejorative way. With this series, he photographed himself attempting to imagine what colonizers may have witnessed based on their written descriptions. Godoy’s photographic interpretations of these ritualistic acts offer a corrective and regard them with unequivocal reverence.
Neither one nor the other, but a wound takes its title from a line in the memoir The Man Who Could Move Clouds by Ingrid Rojas Contreras: “We were a brown people, mestizo. European men had arrived on the continent and violated Indigenous women, and that was our origin: neither Native nor Spanish, but a wound.” In this excerpt, Rojas Contreras recounts her family's ancestry as deeply marked by the legacies of violence enacted by European colonizers towards Indigenous communities in Colombia. Godoy similarly reflects upon the repercussions of these histories and continues to create a singular body of work that recognizes the importance of embodied knowledge in tending to these inter-generational wounds.
About the Artist
Born in Bogotá, Colombia, and currently residing in New York, Camilo Godoy is a multidisciplinary artist whose work investigates politics, history, and collective memory. He has participated in residencies at the International Studio & Curatorial Program (ISCP), SOLARIS, Movement Research, coleção moraes-barbosa, New Dance Alliance, and Recess. His work has been exhibited in prominent institutions, including the Brooklyn Museum, Leslie-Lohman Museum, CUE Art Foundation, OCD Chinatown, PROXYCO Gallery, Museo de Arte Moderno in Bogotá, Moody Center in Houston, UNSW Galleries in Sydney, and Centro de Arte Contemporáneo in Quito. Godoy has also performed at esteemed venues such as the Danspace Project, Movement Research at the Judson Church, and Künstlerhaus Mousonturm
Exposición. 13 dic de 2024 - 04 may de 2025 / CAAC - Centro Andaluz de Arte Contemporáneo / Sevilla, España
Formación. 01 oct de 2024 - 04 abr de 2025 / PHotoEspaña / Madrid, España
