Becoming Chac Mool 2018

Artists Harold Offeh and Veronica Cordova de la Rosa invited children and their families to create costumes inspired by Chac Mool, a reclining sculpture found on the top of Mexican temples and pyramids. 

Serpentine Gallery, London. 

Artists Harold Offeh and Veronica Cordova de la Rosa invited children and their families to create costumes inspired by Chac Mool, a reclining sculpture found on the top of Mexican temples and pyramids. 

Drawing on the history of Mayan and Aztec sculpture and Cordova de la Rosa and Offeh’s performance practices, families transformed into a version of Chac Mool, a figure associated with water, rain and lightning. Using a range of reflective materials families created body adornments echoing the mirrored surfaces and pool in Escobedo’s Pavilion, and posed, played and performed in and around the structure. This workshop was programmed in parallel with the 2018 Serpentine Pavilion designed by Frida Escobedo. 

https://www.serpentinegalleries.org/learn/family-day/family-weekend-becoming-chac-mool

Silent walk 2017

Silent witness. A walking performance by Veronica Cordova de la Rosa. Performers: the artist, Vermeire GeertSophie GeeMilka Panayotova
At Urban Emptiness Festival, december 2017. Checkpoint Ledra Street Nicosia.

Silent witness. A walking performance by Veronica Cordova de la Rosa. Performers: the artist, Vermeire GeertSophie GeeMilka Panayotova
At Urban Emptiness Festival, december 2017. Checkpoint Ledra Street Nicosia.

Mourning bad death, 2013, five self-portraits.

Mourning bad death, 2013, set of five self-portraits, documentation of performance, 6 x 8 photos. Exhibited in the Glass Tank Gallery in Oxford, UK. As a response to a critique of using images of people I do not know, I started to place myself in the making of images. I felt a responsibility to expose myself to the audience’s gaze, too. In this series of images, I started to over-identify with the missing women previous to their disappearance and experienced negative emotions such as the despair I inferred they had experienced minutes before or during their kidnapping.

For this series of photographs I wore my white shirt, a minimum wage worker’s shirt. I dressed specially for the photography session so that I could create an atmosphere in which I felt I was a worker, just like some of the missing women. We both earned minimum wages but in different latitudes in the world: Ciudad Juarez and Oxford.

During the research, the artistic practices constantly looked for links between the missing women and myself to discover what made us similar, apart from nationality. I discovered that I am part of those stories of Mexican women around the world earning minimum wages. In contrast with some of them, however, I do not live in a war zone, I do not work in a ‘maquiladora’ (factory on the border in between Mexico and the United States) and I am undertaking a PhD at Oxford Brookes University, partly self-funded and partly paid by the Mexican Arts Council. Still, I believe we can share emotional behaviours in different geopolitical frameworks.

 

DIY Publications

The Structure of War, 2016, A4 booklet, 14 pages, risograph. Transcript from a performance. Live Art and Performance Art sessions, School of Arts. Oxford Brookes University.

Publishing-Printing-Design by Acacias (commonbooks.org

Publishing-Printing-Design by Acacias (commonbooks.org

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If flowers could talk, they would not be flowers anymore, 2016, documentation of performance and art research, Oxford, A5 zine, 24 pages, risograph. This edition is published on the occasion of the exhibition Images of Violence: A performance Art Based Enquiry Tu Estas Aqui y Yo Estoy Alla The Glass Tank Gallery Oxford Brookes University Headington Campus Oxford 25th July-26th August 2016 Publishing-Printing-Design by Acacias (commonbooks.org) First edition of 100 copies, 2016, Oxford, England/Ciudad de Mexico, Mexico.