Recuperar la oscuridad para recuperarlo todo

Morales is exhibiting the four-channel video work “Resistencia II” as well as the woven piece “Zona Campana” from the series “Recuperar la memoria para recuperarlo todo”.

On Saturday, 31 October 2026, at 6 pm, as part of Embodied Practices, they will discuss their artistic and curatorial practices alongside curator Jenny M. Díaz Muñoz and artist and performer Maque Pereyra. The talk will be preceded by the Embodied Practice ‘Yoggaton: Transformative Pleasure’ by Maque Pereyra.

Laura Campaz “In the darkness, blackness becomes power”

From an Afro-Colombian perspective, Laura Campaz explores Afro-diasporic memories and cultures. Drawing on Édouard Glissant’s concept of opacity, Campaz examines darkness as a space of refuge and resistance. In the darkness, the visible disintegrates, contours dissolve and the power of black emerges. In her work, Campaz explores the tension between the hidden and the visible, between an opacity that preserves and a transparency that reveals.

Opacity seeks neither to be understood nor translated. It demands respect for that which does not reveal itself fully. For queer identities, opacity is vital. It protects one’s own spaces and resists fixed definitions and normative expectations. As a political and poetic gesture, it affirms the right to exist without being fully deciphered.

The transparency of the materials used in the photographs and collages creates poetic layers that interact with one another. This layering seeks depth. It challenges the viewer to move, to reconstruct and to acknowledge the impossibility of an all-encompassing view. Transparency multiplies the possibilities and suggests that identity, just like the image, is not confined to a single layer.

Campaz questions the negative connotations historically attributed to black and darkness, and reinterprets them as symbols of strength, depth and resistance. Through this act of reinterpretation, black becomes an affirmation, a space in which what was previously misunderstood can find its place as a new form of light – as black light.

Julieth Morales “Resistencia II”

” “Zona Campana”

In Julieth Morales’ artistic practice, rejection, pain and emotions are present as memories. They shape her return to the roots of her identity as an indigenous Misak woman. Performance thus becomes a means of re-establishing a connection to the territory and to her community’s traditional system of thought.

Her closeness to her mother, her aunts and her grandmother, as well as the conversations she shared with them by the fire, have shown her how necessary it is to transform certain traditions and ritual practices in order to overcome the oppression that has weighed upon the women of her family for generations. Through the act of unravelling, Morales unties the knots of this heritage and creates a new fabric from which other forms of existence can emerge.

What does it mean to be a Misak woman? How can the duality she carries within herself be reconciled? Both questions run through her work. Her body, understood in terms of Mørøp, aship, isup, marøp (‘listen, see, think, do’), is in relationship with its surroundings. Ritual rhythms permeate this connection and give meaning to existence.

This physical knowledge and skill takes shape in textile works, videos, photographs, screen prints and installations, created in collaboration with other women, knowledge-bearers and ancestral spirits. Her relationship with the land is historically shaped and carries the legacy of the struggles to reclaim territory led by her female ancestors. For her, inhabiting the world and finding her place within it means returning time and again to the same questions and materials, which serve both as an archive and as a means of exploration.