Deborah Castillo
Deborah Castillo | |
|---|---|
| Born | 1971 Caracas, Venezuela |
| Nationality | Venezuela |
| Known for | Installation and performance art |
| Notable work | El beso emancipador (2013), Demagogue (2015), Marx Palimpsest (2018) |
Deborah Castillo (born Caracas, Venezuela, 1971) is a Venezuelan artist who currently resides in Mexico.[1][2] She is known for her controversial works, which challenge the chauvinism of many historical and contemporary political icons. Castillo has explored various artistic media, including video, photography, sculpture, and performance art, disciplines that she intertwines to create complex works that make political statements.[2] Her oeuvre reflects on the persistence of patriarchal power and challenges the heroic and messianic epic.
Education[edit]
Deborah Castillo studied plastic arts and sculpture at the Armando Reverón School of Plastic Arts (now integrated into the Universidad Nacional Experimental de las Artes) and has been active on the art scene since 2003, when she earned two awards in the city of Caracas: the Salón award of Youth and the Eugenio Mendoza award. She studied photography at the Organización Nelson Garrido and worked as an assistant to Nelson Garrido during the period 2000-2003. Castillo also studied at the London College of Fashion in 2004.[3] Castillo's artist residencies include The Banff Center's Artist in Residence Program in Visual Arts (2015);[4] the Atlantic Center for the Arts #151, New Smyrna Beach, Florida (2014); and the London Print Studio, UK (2007).[5]
Work[edit]
The most constant feature in Deborah Castillo's work is her own body, which she uses to make social and political critiques. Many of her performances and installations challenge male authority and political figures by using eroticism to question the dominance of individual male heroic figures in the public imagination and proposing critical making as an effective form of subversion.[6][7] In Emancipatory Kiss (2013), a performance piece, she repeatedly kisses the face of the gold-colored bust of Venezuelan liberator Símon Bolívar. In Demagogue (2015), also a performance video, she masturbates the nose of a clay military figure. Art critic Irina Troconis has identified the military figure Castillo so often singles out as the subject of her criticism as the caudillo: "Though the head’s identity was never explicitly revealed, there was no mystery regarding what it represented; the frown, the beard, and the military epaulettes gave it the authoritative air of the caudillo, and brought to mind the boundless power historically embedded in that figure and its many visual iterations in the urban and political landscape of Latin America."[8] In particular, Castillo challenges Hugo Chavez's Bolívarian Revolution in Venezuela by attacking Bolívar. In works such as Sisifo (2013), she destroys a bust of Bolívar, and in Slapping Power (2015), she slaps two wet clay busts of military figures.[9] Art historian Sara Garzón has compared Castillo's "iconoclastic" pieces that attack effigies of Bolívar to social protest movements that topple monuments; the artist trivializes the heroic image while performing civil disobedience.[10] Her 2018 exhibition, "Parricidios," at El Museo de Arte Carrillo Gil (MACG) in Mexico City featured Las Dictadoras (2017), a sculptural configuration of five female bodies that parodied the five iconic male leaders Mao ZeDong, Joseph Stalin, Karl Marx, Vladimir Lenin and Fidel Castro.[11] Castillo was forced to leave Venezuela, at one point going into hiding, because its totalitarian regime censored her artwork and its political critiques.[4]
References[edit]
- ^ "Deborah Castillo: The Fraternal Socialist Kiss". Hemispheric Institute. 24 April 2024. Retrieved 24 April 2024.
- ^ a b Blanco, Elvira (26 April 2015). "Deborah Castillo desde el umbral". VIceVersa Magazine. Retrieved 17 April 2024.
- ^ "Deborah Castillo". Fundación Celarg. Archived from the original on 24 March 2018. Retrieved 22 April 2024.
- ^ a b Grokhovsky, Katya (29 September 2015). "Featured Artist: Deborah Castillo (interview)". New York Foundation for the Arts. Retrieved 22 April 2024.
- ^ "'Marx Palimpsesto', de Deborah Castillo". El Estilete. 28 January 2016. Archived from the original on 24 March 2018. Retrieved 22 April 2024.
- ^ Pineda Burgos, Rebeca. "Los Cuerpos En Conflicto Del Chavismo: Cuatro Obras Venezolanas En La Era De La Revolución Bolivariana." Order No. 27999285, City University of New York, 2020. https://www.proquest.com/dissertations-theses/los-cuerpos-en-conflicto-del-chavismo-cuatro/docview/2458763956/se-2.
- ^ Troconis, Irina R. (15 June 2021). "Crafting Nationness: DIY Venezuela in Deborah Castillo's RAW and Violette Bule's REQUIEM200≤". Latin American Research Review. 56 (2): 437–456. doi:10.25222/larr.1113 – via Cambridge University Press.
- ^ Troconis, Irina, "RAW: The Flesh of the Past" in Alejandro Castro and Irina Troconis, eds. Deborah Castillo: Radical Disobedience (Hemi Press, 2019) https://radicaldisobedience.tome.press/
- ^ Lehmann, Cecilia Rodriguez, "Effigies that Crumble: Profanations of the National Body" in Alejandro Castro and Irina Troconis, eds. Deborah Castillo: Radical Disobedience (Hemi Press, 2019) https://radicaldisobedience.tome.press/
- ^ Garzón, Sara. "Deborah Castillo: Political Iconoclasm and Other Forms of Civil Disobedience" in Alejandro Castro and Irina Troconis, eds. Deborah Castillo: Radical Disobedience (Hemi Press, 2019) https://radicaldisobedience.tome.press/
- ^ "Los Gabinetes Del MACG Abren Sus Puertas a Dos Nuevas Propuestas". El Universal. 31 July 2018. ProQuest 2080326434. Retrieved 22 April 2024.