Assad x Wickham
Quien Calla, Otorga / Silence Means Consent
On View
March 11 - April 30, 2021
Opening Night Event
March 11, 4:00-8:00pm
Feminine energy is breaking out around the world. Women are taking control as political leaders and active fighters in the military and rebel groups. But while the number of current female leaders – excluding monarchs and figureheads – has more than doubled since 2000, most of the world’s nations have never been led by a woman (Pew Research Center, March 8, 2017). We are already familiar with what happens when men are in power. Male energy has led us to endless wars, to mass destruction and devastation of our planet and its natural resources, to genocide. It is time for change and for the feminine energy to take the lead.
Quien Calla, Otorga celebrates women of México past and present. While some of those represented are controversial figures in history, all are undeniably powerful. Their strength inspires the next generation of young women to find their voices and use their minds for positive change.."
Exhibition Details
Christa Assad x Kevin Wickham
Quien Calla, Otorga / Silence Means Consent
March 11 - April 30, 2021
Gallery
120 Heroico Colegio Militar
Todos Santos, Baja California Sur
Mexico
Press
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Coronela Zapatista Amparo Salgado
Women of the Revolution had many important roles in the war, aside from their duties as cooks and nurses. Among the exceptional cases of women who participated actively on the battle fronts during the Mexican Revolution was Colonel Amparo Salgado. A colonel in the Zapatista army early in the Revolution, she collaborated under General Jesús H. Salgado during his military campaign in 1911.
Las mujeres de la Revolución jugaron un papel importante en la guerra, además de sus deberes tradicionales como cocineras y enfermeras. Entre los casos excepcionales de mujeres que participaron activamente en los frentes de batalla durante la Revolución, se encuentra la Coronela Amparo Salgado. Fue coronela del ejército zapatista a principios de la Revolución y colaboró con el general Jesús H. Salgado durante su campaña militar de 1911.
Col. Amparo Salgado
123 x 92 cm,
Acrylic on plywood
SOLD
Grenade Jar
SOLD
The massacre at Tlatelolco on October 2, 1968, in response to the Student Movement is a brutal story of a repressive government attempting to control its citizens through violence and fear. An estimated 325 unarmed Mexican youths were killed and thousands more injured while trapped — by the police and the military — in a residential square during a peaceful political student protest. What had happened to their children was almost incomprehensible to the parents of the victims.
La masacre de Tlatelolco del 2 de octubre de 1968 en respuesta al movimiento estudiantil es una historia brutal de un gobierno represivo que intenta controlar a sus ciudadanos a través de la violencia y el miedo. Se estima que 325 jóvenes estudiantes desarmados murieron y miles más resultaron heridos al ser atrapados por la policía y el ejército en una plaza residencial durante una protesta pacífica. Lo ocurrido a sus hijos era casi incomprensible para los padres de las víctimas.
El Grito Silencioso, Tlatelolco
92 x 123 cm
Acrylic on plywood
Frida Kahlo (6 July 1907 – 13 July 1954)
Until the age of 18, Frida Kahlo wanted to be a doctor. But at that age a bus accident in which she nearly lost her life left her bedridden and isolated for several years. She turned to art, a childhood interest, during her recovery, and specifically to painting self-portraits depicting her experience of chronic pain. Her folk-art style captured a particularly Mexican aesthetic of vivid color and intricate detail. In addition to belonging to the post-revolutionary Mexicayotl movement, which sought to define a Mexican identity, Kahlo has been described as a surrealist and magical realist. Her notoriety as an artist was in part due to her marriage to muralist Diego Rivera, and also to her being seen as the height of exotica in New York for her elaborate, traditional Mexican dress.
Hasta los 18 años, Frida Kahlo había querido ser médico. Pero a esa edad un accidente de autobús que casi le costó la vida la dejó postrada en cama y aislada durante varios años. Durante su recuperación regresó hacia el arte, un interés infantil, y específicamente se dedicó a pintar autorretratos que representaban su experiencia de dolor crónico. Su estilo de arte popular capturó una estética particularmente mexicana de colores vivos y detalles intrincados. Además de pertenecer al movimiento posrevolucionario conocido como Mexicáyotl, que buscaba definir una identidad mexicana, Kahlo ha sido descrita como un realista surrealista y mágica. Su fama como artista se debió en parte a su matrimonio con el muralista Diego Rivera, y también a que se la consideraba la epítome de lo exótico en Nueva York por sus elaborado vestidos tradicionales mexicanos.
FRIDA
80 x 80 cm
Acrylic on plywood
$3,800 USD | Inquire or Make an Offer
Gender equality and women’s empowerment are central to the ideology of the Zapatista Army of National Liberation (Ejército Zapatista de Liberación Nacional, EZLN), also known as the Zapatistas. The far-left group takes its name from Emiliano Zapata, the agrarian revolutionary and commander of the Liberation Army of the South during the Mexican Revolution, and seeks indigenous control over local resources, especially land. Joining the EZLN allowed women greater access to educational opportunities, but there was no place for family in the camps. The women who joined as insurgents had to renounce having a family because camp living conditions made it too difficult to care for children. Women who already had families found other ways to support the fight against injustice, the marginalization, the poverty, and the exploitation that Mexican women suffer.
La igualdad de género y el empoderamiento de las mujeres son elementos fundamentales en la ideología del Ejército Zapatista de Liberación Nacional (EZLN). El grupo de extrema izquierda toma su nombre de Emiliano Zapata, revolucionario agrario y comandante del Ejército Libertador del Sur durante la Revolución Mexicana, y busca el control indígena sobre los recursos locales, sobre todo la tierra. La incorporación al EZLN permitió a las mujeres un mayor acceso a oportunidades educativas, pero no había lugar para la familia en los campamentos. Las mujeres que se unieron como insurgentes tuvieron que renunciar a tener una familia porque las condiciones de vida en el campamento dificultaban demasiado el cuidado de los niños. Las mujeres que ya tenían familia encontraron otras formas de apoyar la lucha contra la injusticia, la marginación, la pobreza y la explotación que sufren las mujeres en México.
ZAPATISTAS
61 x 61 cm
Acrylic on plywood
$2,200 USD | Inquire or make an Offer
PROCEED WITH CAUTION
Cone, Acrylic on Clay
$1,800 USD | Inquire
NATIVE
122 x 61 cm (in two vertical pieces)
Acrylic, on plywood
SOLD
GAS MASK
Clay
$1,500 USD | Inquire
La Doña Micaela Cota Carballo
La Doña Micaela is a local hero and lifelong resident of Las Playitas, located just north of central Todos Santos, past Las Tunas and the Green Room. Most surfers of La Pastora have encountered La Doña’s free-range cows along the beach road — and occasionally her goats. For generations her family has been ranchers, herding more than 150 cows from her house, and as many goats and chickens. Though La Doña Micaela has worked on the ranch producing some of the best cheese the area has to offer, along with eggs, tomatoes, tortillas, beans and vegetables, some of her happiest memories are of riding to school along the beach road by donkey with her brother each morning, and the adventure of education back then. La Doña has witnessed many changes over the years in Las Playitas, noting solar power in particular, and recalling that 20 years ago she had one panel. She is very grateful for where she lives, where she has lived her whole life, remarking that living in Las Playitas has always been a joy.
Doña Micaela es una heroína local, residente de toda la vida de Las Playitas, ubicada justo al norte de Todos Santos, más allá de Las Tunas y “The Green Room”. La mayoría de los surfistas de La Pastora se han encontrado con las vacas camperas de la Doña a lo largo del camino de la playa, y a veces con sus cabras también. Por generaciones su familia ha sido ganadera, y actualmente tiene más de 150 cabezas de ganado en su rancho, así como otras tantas cabras y gallinas. Aunque Doña Micaela ha trabajado en el rancho produciendo algunos de los mejores quesos de la zona, así como huevos, tomates, tortillas, frijoles y verduras, sus recuerdos más gratos son de cuando iba en burro a la escuela por el camino de la playa con su hermano cada mañana, y la aventura de la escuela en ese entonces. Doña Micaela ha sido testigo de muchos cambios a lo largo de los años en Las Playitas, entre ellos la energía solar, y nos recuerda que hace 20 años ella tenía un panel. Está muy agradecida por vivir en el lugar donde vive, donde ha vivido toda su vida, y asegura que vivir en Las Playitas siempre ha sido una alegría.
La Doña Micaela Cota Carballo
61 x 61 cm
Acrylic on plywood
SOLD
Sor Juana Inés de la Cruz (12 November 1648 - 17 April 1695)
For a woman living in the 1600’s, Sister Juana Inés de la Cruz was quite radical. An intellectual with many scholarly achievements by a young age, she was famous for having her own library in which she educated and established herself as philosopher, poet, and composer during México’s colonial period. She chose to become a nun so that she could study as she wished since she wanted “to have no fixed occupation which might curtail my freedom to study.” A protofeminist and a Hieronymite nun, she entertained the city’s intellectual elite in salon-style meetings held in her nun’s quarters, until she was eventually condemned by the Catholic church for her outspoken opinions. She was an early advocate for women’s rights and education.
Para una mujer que vivía en el siglo XVII, Sor Juana Inés de la Cruz era bastante radical. Intelectual con muchos logros académicos a una edad temprana, fue famosa por tener su propia biblioteca en la que se educó y se estableció como filósofa, poeta y compositora durante el período colonial de México. Decidió entrar al convento para poder estudiar a su gusto, ya que buscaba “no tener una ocupación fija que pudiese restringir mi libertad para estudiar”. Sor Juana era monja jerónima y protofeminista, entretuvo a la élite intelectual de la ciudad en reuniones estilo salón que se llevaban a cabo en su habitación, hasta que finalmente fue condenada por la Iglesia Católica por sus opiniones abiertas. Fue una de las primeras defensoras de los derechos y la educación de la mujer.
SOR Juana Ines de la Cruz
123 x 123 cm
Acrylic, on plywood
$7,000 USD | Inquire or Make an Offer
THE MANY FACES OF LA MALINCHE I, II, III, IV
61 x 61 cm
Acrylic on plywood
I, II, III are $1,800 USD Each | Inquire
IV is SOLD
Malinalli, Malintzin, Doña Marina, “La Malinche“ (c. 1500 – c. 1529)
Some see her as a founding figure of the Mexican nation, while others see her as a traitor who betrayed the indigenous population of her country and aided Cortés in the Spanish Conquest of México. But Mexican feminists defended La Malinche as a woman caught between cultures, forced to make complex decisions, who ultimately served as a mother of a new race. The four interpretations of La Malinche painted for this exhibition exemplify the varying public personae she embodied.
Algunos la ven como una figura fundadora de la nación mexicana, mientras que otros la ven como una traidora a la población indígena de su país que ayudó a Cortés en la conquista española de México. Sin embargo, el feminismo mexicano defendie a La Malinche como una mujer atrapada entre culturas, obligada a tomar decisiones complejas, que finalmente sirvió como madre de una nueva raza. Las cuatro interpretaciones de La Malinche pintadas para esta exposición ejemplifican las distintas personalidades públicas que encarnó.
Leche
61 x 61 cm
Acrylic on plywood
1800 USD | Inquire or make an offer
Christa Assad x
Kevin Wickham
Christa Assad and Kevin Wickham are a dynamic artist-duo whose shared desire to sustain a healthy, outdoor-based lifestyle led them to the pueblo mágico of Todos Santos. The topography, climate and natural resources of this tropical desert location attracted the artists and suited Kevin’s architectural plans for a site with passive and sustainable design systems. The couple have dedicated their home, workshops and garden spaces to be experiential for visitors.
"We're creating a sanctuary for learning in a cross-disciplinary, think tank context. In a sustainable ranch setting, participants exchange ideas, practice wellness, and work toward assimilating the built environment into the natural one.”
Taller de Terreno was founded in 2017.
