©Proyectos Monclova
“Strangers Everywhere” is the identifying phrase of the 60th edition of the Venice Art Biennale. A play of words that reminds us of our current reality: a globalized and diverse world where everyone can be, at any time, a “foreigner,” another, different, marginal, and political. That is how this year’s Biennial opens its doors to a diversity of artists, traditional practices, and institutions from around the globe. On this occasion, with Adriano Pedroso as guest curator —the first Latin American curator that has been granted this honor in history— the Biennial’s objective and message are as powerful as crystal clear: to discuss and reflect on how human beings interact and understand each other based on their apparent “similarities” and “differences,” in the hope of creating a space for diversity, connection, and the rediscovery of histories and cultures.
Among its most notable participants is Eduardo Terrazas, an interdisciplinary artist and architect from Guadalajara, México, whose works explore the intersections between geometry, metaphysics, traditional crafts, and abstract art. Throughout his career, Terrazas has always engaged in projects of national and social character, either by participating in collective endeavors (such as the visual programming of the 1968 Olympic Games in Mexico and the Mexican group Instituto de Acción Urbana e Integración Social) or by studying and cherishing traditional crafts from his home country (most notably, the crafts of the Wixárika people). By participating in this year’s Biennale, Terrazas enriches the ongoing discussion surrounding the diaspora as someone who experiences, reflects on, and works constantly through it. Undoubtedly, this latest event positions Terrazas and his work on a bigger platform of institutions, projects, and collectors, confirming once again the value of his work while opening the space to more Latin American artists.
April 17, 2024
