www.instituteforpublicart.org:
In a neighbourhood where gang allegiance impacted where people could safely move, '˜Skin of Memory' provided a neutral space by creating a mobile museum on a bus. The 'Archeological Museum of the Antioquia' toured the area for 10 days attracting thousands of visitors and national attention. The museum provided a space for collection, and became a powerful symbolic action where people could come together in a non-partisan zone to display memories of those that they had lost.
The artists involved the community in the process through memory workshops with community members, followed by interviews with members of the community where a number of personal objects in relation to memories of past violence were collected. A second outcome of the project included letters written by community members, of which nearly 2000 letters were collected and displayed unopened alongside the personal items for the duration of the exhibition, and then distributed within the community. Once project ended the community asked for the museum to be moved downtown to provide continued visibility to the project and draw attention to the positive vision that the community was able to build for itself.
It was supported by the region of Medellin. Many famous local artisnts took part in this activity positively. All the information were from local people and their local life, the data is autentic.
It brings the positive side of the communities in Medlin. These communities used to be filled with drugs and violence, now that people's ideas have changed after seeing this artwork. It vividly shows the local life and spiritual world from all the angles and perspectives. It shows people's hope towards future.
Source: Shanghai Academy of Fine Arts
www.suzannelacy.com:
Barrio Antioquia is a community in the middle of Medellin, Columbia with a rich, varied, and sometimes tragic history that includes loss, stigmatization, and violence as a common experience for several generations.
In spite of this history and an economy often dependent upon illegal activities, residents of its 2000 households have a strong sense of pride in a resilient and expressive culture with deep familial connections.
Built on the community and scholarly work of Riaño and other historians, political scientists, activists and educators, the project focused on the uses of memory workshops to prevent forms of localized violence.
A paid team of mostly young people interviewed over a third of the families to collect objects loaded with personal memories for display in a temporary 'Museo arqueologico del Barrio Antioquia.' The museum was created by Lacy, Riano, architect Vicky Rameriz, designer Raul Cabra, and local artisans in a bus by adding row upon row of aluminum and glass shelves lit by tiny bulbs.
The display contained 500 objects including Donald Duck figurines, American dollar bills, gold plated silverware from a former drug dealer, wedding pictures, identification cards, and even the pictures andhes of family members killed in shoot-outs.
Residents who came to the bus wrote letters addressed to unknown neighbors that expressed wishes for the future of the barrio, and were later delivered to residents in a jubilant procession. For ten days, the bus was stationed throughout different quarters of the Barrio to ensure that all could see it safely without having to cross into hostile areas. Three hundred people a day visited; it was subject of national television programs when it moved for a week to downtown Medellin, at residents' requests, to represent their community in a more positive light.
With Raul Cabra, Vicky Rameriz, and Mauricio Hoyes. Produced by Corporacion Region, Comfanelco, Corporacion Suisse, and Educame, Medellin, Colombia.
www.suzannelacy.com:
Suzanne Lacy is renowned as a pioneer in socially engaged and public performance art. Her installations, videos, and performances deal with sexual violence, rural and urban poverty, incarceration, labor and aging. Lacy'sge-scale projects span the globe, including England, Colombia, Ecuador, Spain, Ireland and the U.S.
In 2019 she had a career retrospective at the San Francisco Museum of Modern Art and at Yerba Buena Art Center. Her work has been reviewed in major periodicals and books and she exhibits in museums across the world. Also known for her writing, Lacy edited Mapping the Terrain: New Genre Public Art and authored Leaving Art: Writings on Performance, Politics, and Publics, 1974-2007. She is a professor at the Roski School of Art and Design at the University of Southern California and a resident artist at 18th Street Arts Center.
In a neighbourhood where gang allegiance impacted where people could safely move, '˜Skin of Memory' provided a neutral space by creating a mobile museum on a bus. The 'Archeological Museum of the Antioquia' toured the area for 10 days attracting thousands of visitors and national attention. The museum provided a space for collection, and became a powerful symbolic action where people could come together in a non-partisan zone to display memories of those that they had lost.
The artists involved the community in the process through memory workshops with community members, followed by interviews with members of the community where a number of personal objects in relation to memories of past violence were collected. A second outcome of the project included letters written by community members, of which nearly 2000 letters were collected and displayed unopened alongside the personal items for the duration of the exhibition, and then distributed within the community. Once project ended the community asked for the museum to be moved downtown to provide continued visibility to the project and draw attention to the positive vision that the community was able to build for itself.
It was supported by the region of Medellin. Many famous local artisnts took part in this activity positively. All the information were from local people and their local life, the data is autentic.
It brings the positive side of the communities in Medlin. These communities used to be filled with drugs and violence, now that people's ideas have changed after seeing this artwork. It vividly shows the local life and spiritual world from all the angles and perspectives. It shows people's hope towards future.
Source: Shanghai Academy of Fine Arts
www.suzannelacy.com:
Barrio Antioquia is a community in the middle of Medellin, Columbia with a rich, varied, and sometimes tragic history that includes loss, stigmatization, and violence as a common experience for several generations.
In spite of this history and an economy often dependent upon illegal activities, residents of its 2000 households have a strong sense of pride in a resilient and expressive culture with deep familial connections.
Built on the community and scholarly work of Riaño and other historians, political scientists, activists and educators, the project focused on the uses of memory workshops to prevent forms of localized violence.
A paid team of mostly young people interviewed over a third of the families to collect objects loaded with personal memories for display in a temporary 'Museo arqueologico del Barrio Antioquia.' The museum was created by Lacy, Riano, architect Vicky Rameriz, designer Raul Cabra, and local artisans in a bus by adding row upon row of aluminum and glass shelves lit by tiny bulbs.
The display contained 500 objects including Donald Duck figurines, American dollar bills, gold plated silverware from a former drug dealer, wedding pictures, identification cards, and even the pictures andhes of family members killed in shoot-outs.
Residents who came to the bus wrote letters addressed to unknown neighbors that expressed wishes for the future of the barrio, and were later delivered to residents in a jubilant procession. For ten days, the bus was stationed throughout different quarters of the Barrio to ensure that all could see it safely without having to cross into hostile areas. Three hundred people a day visited; it was subject of national television programs when it moved for a week to downtown Medellin, at residents' requests, to represent their community in a more positive light.
With Raul Cabra, Vicky Rameriz, and Mauricio Hoyes. Produced by Corporacion Region, Comfanelco, Corporacion Suisse, and Educame, Medellin, Colombia.
www.suzannelacy.com:
Suzanne Lacy is renowned as a pioneer in socially engaged and public performance art. Her installations, videos, and performances deal with sexual violence, rural and urban poverty, incarceration, labor and aging. Lacy'sge-scale projects span the globe, including England, Colombia, Ecuador, Spain, Ireland and the U.S.
In 2019 she had a career retrospective at the San Francisco Museum of Modern Art and at Yerba Buena Art Center. Her work has been reviewed in major periodicals and books and she exhibits in museums across the world. Also known for her writing, Lacy edited Mapping the Terrain: New Genre Public Art and authored Leaving Art: Writings on Performance, Politics, and Publics, 1974-2007. She is a professor at the Roski School of Art and Design at the University of Southern California and a resident artist at 18th Street Arts Center.