Those at the Great River-Mouth Carolina Caycedo

September 6–December 1, 2018

Presented in conjunction with The Work of Wind: Air, Land, Sea.


Click here to download the micropublication featuring commissioned essays by Natasha Chaykowski and Macarena Gómez-Barris, exhibition infromation, biographies, and full colour illustrations throughout.


Carolina Caycedo, This Is Not Water (video still), 2015. HD video, sound and colour, 5:20 mins.
Exhibition Statement

Those at the Great River-Mouth is based on Colombian artist Carolina Caycedo’s investigation of hydroelectric sites across Latin America, whose processes of land expropriation and environmental licensing have been marked by unprecedented environmental disasters and profound Indigenous resistance. Picturing water’s living and life-giving capacities, Caycedo’s work affirms nature’s vibrancy beyond the narrow resource-driven logics of extractivism.

Artist Biography

Carolina Caycedo (1978, lives in Los Angeles) was born in London to Colombian parents. She transcends institutional spaces to work in the social realm, where she participates in movements of territorial resistance, solidarity economies, and housing as a human right. Carolina’s artistic practice has a collective dimension to it in which performances, drawings, photographs, and videos are not just an end result, but rather part of the artist’s process of research and acting. Through work that investigates relationships of movement, assimilation and resistance, representation and control, she addresses contexts, groups, and communities that are affected by developmental projects, including the constructions of dams, and the privatization of water and its consequences on riverside communities. She has developed publicly engaged projects in Bogota, Quezon City, Toronto, Madrid, Sao Paulo, Lisbon, San Juan, New York, San Francisco, Paris, Mexico DF, Tijuana, and London. Her work has been exhibited worldwide with solo shows at Vienna Secession; Intermediae-Matadero, Madrid; Agnes B Gallery, Paris; Alianza Francesa, Bogotá; Hordaland Kunstsenter, Bergen; and DAAD Gallery, Berlin. She has participated in international biennials including Sao Paulo (2016); Berlin (2014); Paris Triennial (2013); New Museum (2011); Havana (2009); Whitney (2006); Venice (2003) and Istanbul (2001).

Acknowledgments

The Blackwood Gallery gratefully acknowledges the operating support of the Canada Council for the Arts, the Ontario Arts Council, and the University of Toronto Mississauga.

 

 

This exhibition is presented in conjunction with The Work of Wind: Air, Land, Sea, a year-long project series that aims to foster a deeper public awareness of the complex entanglements of ecologies of excess, environmental legacies of colonialism, the financialization of nature, contemporary catastrophism, politics of sustainability, climate justice, and resilience. It sets out to develop durable visual-cultural literacies and invites publics to create new encounters in the common struggle for a future.