‘un lento atardecer de verano | the slowly growing sunset of a summer evening’ curated by Camilo Londoño Hernández
PLATFORM centre is thrilled to present the group exhibition, un lento atardecer de verano | the slowly growing sunset of a summer evening curated by Camilo Londoño Hernández (COL/GER), PLATFORM’s 2024/25 Curator in Residence. This exhibition includes work by Connie Chappel (MB), Deinma David Iyagaba (MB), Juan Pablo Patiño (COL), Cristina Mancero (ECU), María Mercedes Román (ECU), and Suelin Noriega (ECU) as part of Comunidad Dis(lo)ca - Art Collective. Please join us on Friday 2 May for the opening reception.
EXHIBITION | 2 May - 28 June
OPENING RECEPTION | 2 May, 7PM - 9PM
ARTIST TALK | 28 June, 2PM at PLATFORM centre in partnership with FLASH photographic festival
In our current overproduction of images, sight presents us with hegemonic performance. Therefore, physically or metaphorically speaking, who has the power and ability to see? By understanding blindness as a way of questioning such hegemony, how to rethink images from a synaesthetic body and not from an authoritarian eye? Nowadays, we still separate our senses without realizing that seeing is a complete corporal gesture. Pictures are an extension of all our senses. We want to feel, touch, smell, and hear what we do (not) see. Imagination is our desire.
From our current curator in residence, Camilo Londoño Hernández, these inquiries were the starting point to present a show that takes blindness as an experience that moves us towards an expanded visuality. After an intimate dialogue among artists from Colombia, Ecuador, and Canada; an emotional and collective exhibition will feature projects from Connie Chappel (MB), Deinma David Iyagaba (MB), Juan Pablo Patiño (COL), and Comunidad Dis(lo)ca - Art Collective formed by Cristina Mancero, María Mercedes Román, and Suelin Noriega (ECU).
For this show, a warm landscape arises on the horizon. Intuitively, we feel the body showing us those details that the eye does not register. Under a colorful gloom, we witness an act of faith. Through a visceral process, artists transform their personal stories into visual poetic events. This exhibition establishes a dialogue with gazes affected by a dazzled corporeality, by ways of seeing that are closer to the contemplation of the unknown world than to the desire to produce images.
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En nuestra actual sobreproducción de imágenes, el mirar despliega un discurso hegemónico. Por lo tanto, ¿quién tiene el poder y la capacidad de ver? Al entender la ceguera, física o metafórica, como una forma de questionar dicha hegemonía, ¿cómo replantear las imágenes desde un cuerpo sinestésico y no desde un ojo autoritario? Hoy seguimos separando nuestros sentidos sin darnos cuenta de que ver es un completo gesto corporal. Las imágenes son una extensión de nuestros sentidos. Queremos sentir, tocar, oler y oír lo que (no) vemos. La imaginación es nuestro deseo.
Estas inquietudes fueron el punto de partida para que nuestro actual curador en residencia, Camilo Londoño Hernández, presentara una muestra que parte de la ceguera como una experiencia que nos mueve hacia una visualidad expandida. Tras un diálogo íntimo entre artistas de Colombia, Ecuador y Canadá; esta exposición, emocional y colectiva, contará con proyectos de Connie Chappel, Deinma David Iyagaba, Juan Pablo Patiño y Comunidad Dis(lo)ca - Colectivo de Arte formado por Cristina Mancero, María Mercedes Román y Suelin Noriega.
Para este muestra un paisaje cálido se alza en el horizonte. Intuitivamente, sentimos el cuerpo mostrándonos aquellos detalles que el ojo no registra. Bajo una penumbra de colores, asistimos a un acto de fe. A través de un proceso visceral, lxs artistas transforman sus historias personales en evntos poéticos visuales. Esta exposición establece un diálogo con miradas afectadas por una corporeidad deslumbrada, por formas de ver más cercanas a la contemplación del mundo desconocido que al afán de producir imágenes.
BIOGRAPHIES
Camilo Londoño Hernández (COL) is a Colombian cuir (queer) writer, visual artist, and independent curator based in Germany. As a constant game of moving words and images, his work plays with borders of literature to open cracks of affection, sexuality, pleasures, and power. He graduated with a master’s in fine arts in Public Art and New Artistic Strategies at the Bauhaus Universität- Weimar (Germany). In 2022, granted by the Ministry of Culture of Colombia, he published his first fiction book “Los Perros Esperan Bajo la Sombra” (The Dogs Wait Under the Shadow). Additionally, he studied Social Communication and Journalism at the Pontificia Bolivariana University (Medellin, Colombia). There, he worked as a lecturer and researcher investigating imagery, literature, and cinema.
As an artist, he has exhibited in Colombia, Germany, Mexico, Cuba, Spain, Costa Rica, and the USA. As an independent curator, he has collaborated with artists, galleries, and cultural institutions in Colombia, Spain, and Bolivia. For instance, his last curatorial project "Among Bodies" was part of the Experimental Photo Fest Barcelona 2022. In Colombia, he curated the exhibition "Sabotage" which was exhibited at Lokkus Art Gallery as part of the First Colombian Image Encounter organized by the Museum of Modern Art of Medellin. Equally, he accompanied the photographic show “At my feet are other lands”, one documentary project exhibited at the Museum of Art of Jericó – MAJA in Colombia as well at Tambo Quirquincho Museum in the frame of Fotofest Bolivia in La Paz.
Camilo is part of RITA Art Collective and Abraso, the Mobile Center of Intratropical Artistic Research and Affective Practices. Besides, he co-directs the publishing house Efímera. Currently, he is working on his first feature film “El Nadador” [The Swimmer], a project developed as a part of the exhibition “Lost in Translation” of the Bauhaus Museum in Germany.
Connie Chappel (MB) is a Canadian artist using photography, sculptural assemblage and installation to unearth correlations between the natural world, human life and inanimate objects. Her work contemplates narratives about cycles of life and death, growth and decay. She holds a BFA - 1st class honours from the University of Manitoba School of Art, Winnipeg.
In 2019, Chappel had her first major solo exhibition, Embodiment, at aceartinc. gallery, Winnipeg. The following year, she participated in a three-person exhibition Through Distant Air at AllArtNow Lab, Stockholm, Sweden. In 2021-2022, she partnered with two scientists for an Eco-Craft research project on climate change sponsored by the Manitoba Craft Council, Winnipeg.
Also in 2022, Chappel's sculptural work was curated by Erica Mendritzki into the touring exhibition Worried Earth: Eco-Anxiety and Entangled Grief at Gallery 1C03, University of Winnipeg. The second and third iterations of the exhibition featuring her most current work were at Anna Leonowens Gallery, NSCAD University, Halifax, NS (2023) and at the Art Gallery of Grande Prairie, AB (2024-2025).
In addition, Chappel's work has exhibited at World of Threads Festival, Oakville; Orillia Museum of Art and History, Orillia; Naval Historical Museum, Puerto Vallarta, MX; and, in Transitions: The New Biennial for Art and Architecture, Botkyrka Konsthall, Tumba, Sweden.
Connie Chappel’s Winnipeg studio is located on Treaty 1 Territory, the ancestral lands of the Anishinaabeg, Ininiwak, Anishininwak, Dakota Oyate, and Denésuline, and the National Homeland of the Red River Métis. She uses water sourced from Shoal Lake 40 First Nation on Treaty 3 Territory and electricity that comes from multiple Treaty Territories.
Deinma David Iyagba (MB) is an artist originally from Southern Nigeria, now based in Winnipeg, Canada. A recent graduate of the University of Manitoba's Bachelor of Fine Arts (Honors) program. His artistic praxis moves between a multidisciplinary and transdisciplinary approach to making. It involves a fascination with the fluid and harmonious collaboration of various artistic mediums were the multi-dimensionality of that collaboration becomes the gateway he uses to explore a diverse array of themes.
Deinma was the recipient of the Cecil C. Richards Memorial Award for Sculpture and the Tania (Tye) Asper Memorial Prize for painting at the University of Manitoba. He was also one of the selected artists to attend the Summer Institute residency hosted by the Plug-In Institute of Contemporary Art in Winnipeg Manitoba. In 2024 he had a successful Solo exhibition “To Create Context” hosted by Ace Art Inc, a Gallery in Winnipeg Manitoba. He also exhibited alongside his graduating cohort, in their final group Bachelor of Fine Arts (Honors) exhibition.
Juan Pablo Patiño (COL) is a sound artist, sound designer, sound mixer, and boom operator, living and working in Medellin, Colombia. He graduated from the Sound Engineering program at the University of San Buenaventura in Colombia. He also obtained a diploma in Sound Art from the Universidad Autónoma de Barcelona in Spain and Universidad de Chile. He was the co-founder and creative director for 6 years of Rueda Sonido, a production company dedicated to recording and post-production of film sound. For 10 years, he has worked on countless audiovisual projects. Among the fiction feature films, his participation stands out in: "Los reyes del mundo" (2023) by Laura Mora; "Los conductos" (2020), by Camilo Restrepo; and "El acompañante" (2015), by Pavel Giroud. Likewise, he has been part of outstanding documentaries such as "Suspensión" (2019) by Simón Uribe; "Las Razones del Lobo" (2022) by Marta Hincapié; and "Como el cielo después de Llover" (2020) by Mercedes Gaviria. These and other projects have participated in events like the San Sebastian Film Festival, the International Documentary Film Festival Amsterdam IDFA, the Berlinale Film Festival, the Havana Film Festival, the Cartagena de Indias International Film Festival, and the Rome Film Festival, among others.
Juan Pablo Patiño es un artista sonoro, diseñador sonoro, microfonista y sonidista que vive y trabaja en Medellín, Colombia. Egresó del programa de Ingeniería de Sonido de la Universidad de San Buenaventura de Colombia. Así mismo, obtuvo el diplomado en Arte Sonoro de la Universidad Autónoma de Barcelona y Universidad de Chile. Fue co fundador y director creativo durante 6 años de la productora Rueda Sonido, empresa dedicada a la grabación y postproducción de sonido cinematográfico. Desde hace 10 años ha trabajado en incontables proyectos audiovisuales. Dentro de los largometrajes de ficción resalta su participación en: “Los reyes del mundo” (2023) de Laura Mora; “Los conductos” (2020), de Camilo Restrepo; y “El acompañante” (2015), de Pavel Giroud. Igualmente, ha hecho parte de destacados documentales como: “Suspensión” (2019) de Simón Uribe; “Las razones del lobo” (2022) de Marta Hincapié; y “Como el cielo después de llover” (2020) de Mercedes Gaviria. Estos y otros proyectos han participado en eventos como el Festival de Cine de San Sebastián, el Festival Internacional de Cine Documental de Amsterdam IDFA, Berlinale Film Festival, el Festival de Cine de La Habana, el Festival Internacional de Cine de Cartagena de Indias, el Festival de Cine de Roma, entre otros.
Comunidad Dis(lo)ca - Art Collective (COL): Cristina Mancero, María Mercedes Román, and Suelin Noriega
We are a civil society organization based in Ecuador, formed by ten women with disabilities and caregivers of people with disabilities, who do activism through art. We seek to influence society, directly and indirectly, on issues of disability and rights with a gender perspective.
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Somos una organización de la sociedad civil con base en Ecuador, conformada por diez mujeres con discapacidad y cuidadoras de personas con discapacidad, que hacemos activismo desde el arte. Buscamos incidir en la sociedad, directa e indirectamente, en temas de discapacidad y derechos con enfoque de género.
Cristina Mancero (COL) (Guayaquil, 1977). She is an audiovisual communicator, with studies in Documentary Film at the U. of Chile and Composition & Rhetoric at the U. of Louisville. Her interests explore gender issues, LGBTIQ+ community, feminism, disability theories, poetry, documentary filmmaking, and sign language. Two decades ago, she lost a vocal cord and since then she has been asking questions about identity, voice, disability, “to be or not to be”. In this journey, she has dealt with the subject of losing a vocal cord, directly and indirectly, through documentaries, photography, poetry, and essays. She is part of the Comunidad Dis(lo)ca, a community of women with disabilities.
She made the short documentary “Sin Título” (Untitled), which won the Special Jury Prize and Audience Award at the Third Rengo Youth Film Festival (Chile, 2007); it was selected for the Muestra de Documentales al Aire Libre de Santiago (Chile, 2006) and the Third Muestra de Cine Ecuatoriano in Paris (France, 2013).
In 2016, she published her essay “Aclarando mi garganta” (Lighting my throat). The same year, she was part of the anthology “Voces Nuevas” (New Voices) (poetry) of the Torremozas Collection (Spain). In 2017, she was part of the artistic exhibition “Cuerpos que se miran”. Her work “Y un hueco nunca más se cerró” encompassed photography, sound installation, and poetry. This work was also exhibited at the VIII Biennial of Contemporary Art, ONCE Foundation (Spain, 2022). In November 2023, she published the book “Cuerpario”, about invisible disabilities.
In 2024, she was selected among more than 300 artists worldwide to participate in the DIP program (Documentary, Intimacy and Staging), under the direction of Argentine filmmaker Manuel Abramovic.
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(Guayaquil, 1977). Comunicadora audiovisual, con estudios de Cine Documental en la U. de Chile y Composición & Retórica en la U. de Louisville. Su interés transita entre temas de género, la comunidad LGBTIQ+, feminismos, teorías de la discapacidad, poesía, cine documental y lengua de señas. Hace dos décadas perdió una cuerda vocal y desde entonces se hace preguntas sobre la identidad, la voz, la discapacidad, el “ser o no ser”. En este recorrido, ha tratado el tema de la cuerda vocal extraviada, directa e indirectamente, a través del documental, fotografía, poesía y ensayo. Es parte de la Comunidad Dis(lo)ca, de mujeres con discapacidad.
Realizó el corto documental Sin Título que obtuvo el Premio Especial del Jurado y Premio del Público en el Tercer Festival de Cine Joven de Rengo (Chile, 2007); fue seleccionado para la Muestra de Documentales al Aire Libre de Santiago (Chile, 2006) y para la Tercera Muestra de Cine Ecuatoriano en París (Francia, 2013).
En 2016 publicó su ensayo Aclarando mi garganta y, en ese mismo año, fue parte de la antología Voces Nuevas (poesía) de la Colección Torremozas (España). En 2017 fue parte de la muestra artística Cuerpos que se miran. Su obra, titulada Y un hueco nunca más se cerró, abarcó fotografía, instalación sonora y poesía. Esta obra fue también exhibida en la VIII Bienal de Arte Contemporáneo Fundación ONCE (España, 2022). En noviembre de 2023 publicó el libro Cuerpario, sobre discapacidades invisibles.
En 2024 fue seleccionada entre más de 300 artistas a nivel mundial para participar en el programa DIP (Documental, Intimidad y Puesta en Escena), bajo la dirección del cineasta argentino Manuel Abramovic.
María Mercedes Román (COL) recognizes herself as a “disca” social researcher. She has gone through different spaces of academic construction, from her formal and informal studies in social communication, journalism, teaching, therapeutic theater, gender and development, feminist pedagogies, and critical disability studies. This experience has made her deeply disavow academia. Although she pretends to belong to it, she has decided to imagine that her disability is a place from which “disca” research can be done.
From this audacity, María Mercedes has dedicated herself to exploring her own body in low vision as a point of view that dislocates, in its blurriness, the position of the researcher, as well as that of the one who assumes to know something. She posits the category of “interbody” as a theoretical articulation that is both a visible posture of disca interdependence as a strategy for posing the blurring ownership of the gaze and the very edges of the body. In this search, she carried out her thesis entitled: “The Other Gaze. Corporeal-sensorial experiences of people with acquired blindness: body, visual disability and gender”, and as a visual experience of her personal history. Together with the collective Comunidad Dis(lo)ca, she created her work: ‘La mirada otra’, in which she encourages herself to think of herself as an artist of something that she still does not know how to name well.
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María Mercedes se reconoce como una investigadora social “disca”. Ha transitado por distintos espacios de construcción académica, desde sus estudios formales e informales en comunicación social, periodismo, docencia, teatro terapéutico, género y desarrollo, pedagogías feministas, y estudios críticos de la discapacidad. Esto le ha hecho renegar profundamente de la Academia, y aunque pretenda pertenecer a la misma, ha decidido imaginar que su discapacidad es un lugar desde el cual se puede hacer investigación “disca”.
Desde este atrevimiento, María Mercedes se ha dedicado a explorar su propio cuerpo en baja visión como un punto de vista que descoloca, en su borrosidad, la postura de la investigadora, así como de quien asume conocer algo. Plantea la categoría de “intercuerpo” como una articulación teórica que es tanto una postura visible de la interdependencia disca, como una estrategia para plantear la difuminación de la propiedad de la mirada y de los bordes mismos del cuerpo. En esa búsqueda, realizó su tesis titulada: “La mirada Otra. Experiencias corpóreo-sensoriales de personas con ceguera adquirida: cuerpo, discapacidad visual y género”, y como una experiencia visual de su historia personal; junto a la colectiva a la que pertenece: Comunidad Dis(lo)ca, creó su obra: “La mirada otra”, en la que se anima a pensarse como artista de algo que aún no sabe nombrar bien.
Suelin Noriega (COL) A woman whose gaze is constantly expanding towards tactile sensibilities while inhabiting low vision. She is part of the Dis(lo)ca Community, participating in artistic processes of accessibility and creation. She is a dancer in constant deformation of movement. Her lines of research revolve around critical disability and body studies. She is deeply interested in dance, film, and the practice of combined artistic languages.
She participated as a resident dancer in the work “El presagio de los pájaros” (2018) as part of the VI International Laboratory of Contemporary Dance. She collaborated on the video dance Focus (2021). She was part of the exhibition Desbordes: pulsiones discas de la intimidad (2022). She was selected as part of the EDOC NETWORK in its 1st and 2nd editions.
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Mujer cuya mirada está en constante expansión hacia las sensibilidades táctiles y que también habita la baja visión. Es parte de la Comunidad Dis(lo)ca participando en procesos artísticos de accesibilidad y creación. Bailarina en constante deformación del movimiento. Sus líneas de investigación giran en torno a la discapacidad crítica y estudios del cuerpo. Profundamente interesada en la danza, cine y la práctica de lenguajes artísticos combinados.
Participó como bailarina residente en la obra "El presagio de los pájaros" (2018) en el marco del VI Laboratorio Internacional de Danza Contemporánea. Colaboró en el video danza Focus (2021). Fue parte de la exposición Desbordes: pulsiones discas de la intimidad (2022). Fue seleccionada como parte de la RED EDOC en su 1era y 2da edición.