The authentic and the naked (2019)
In this project, I work with perhaps the most celebrated marker of ‘authentic’ Indigeneity: costumes. Contrary to the exoticism found in culturalist interpretations, I am interested in situating them as an integral part the experience of modernity.
This project started as an exploration of how Indigeneity has been portrayed through history in Latin America. Initially, I looked back into colonial representations that presented naked bodies in front of plain backgrounds. I mimicked this procedure with my own body, both to experiment with the feeling and the photographs.
Next, I started researching contemporary representations of Indigeneity. In doing so, I noticed an important difference with colonial depictions: the naked body has been replaced by colourful and heavy clothes. Indigenous costumes have become iconic, more so than in the past. With this insight, I decided to focus on the traditional skirt ‘pollera’. Using a Google Image search, I collected a variety of images of indigenous skirts and costumes, and I used them to cover my nakedness digitally. Those clothes in movement were cropped and situated over a static figure.
Following the discourse of neoliberal multiculturalism, photographers and anthropologists have romanticised the usage of these costumes to reproduce colonial stereotypes. To engage with this reflexion, I decided to focus on the notion of Indigeneity as modernity’s other. I wanted to challenge the narrative that portrays Indigenous people as separate from the experience of modernity. I find that very simplistic, not least because the fabrics used to make these costumes have nowadays been manufactured in the main centres of the global garment industry. For this purpose, I collected images of 3D modelling and photography classified as ‘modern’ architecture from open-source websites. Using these images as backgrounds representing ‘modernity’, I then inserted my image covered by Indigenous costumes. I also used embroidery in some photographs as a way to physically join these two supposedly opposing poles: Indigenity/modernity.
This project started as an exploration of how Indigeneity has been portrayed through history in Latin America. Initially, I looked back into colonial representations that presented naked bodies in front of plain backgrounds. I mimicked this procedure with my own body, both to experiment with the feeling and the photographs.
Next, I started researching contemporary representations of Indigeneity. In doing so, I noticed an important difference with colonial depictions: the naked body has been replaced by colourful and heavy clothes. Indigenous costumes have become iconic, more so than in the past. With this insight, I decided to focus on the traditional skirt ‘pollera’. Using a Google Image search, I collected a variety of images of indigenous skirts and costumes, and I used them to cover my nakedness digitally. Those clothes in movement were cropped and situated over a static figure.
Following the discourse of neoliberal multiculturalism, photographers and anthropologists have romanticised the usage of these costumes to reproduce colonial stereotypes. To engage with this reflexion, I decided to focus on the notion of Indigeneity as modernity’s other. I wanted to challenge the narrative that portrays Indigenous people as separate from the experience of modernity. I find that very simplistic, not least because the fabrics used to make these costumes have nowadays been manufactured in the main centres of the global garment industry. For this purpose, I collected images of 3D modelling and photography classified as ‘modern’ architecture from open-source websites. Using these images as backgrounds representing ‘modernity’, I then inserted my image covered by Indigenous costumes. I also used embroidery in some photographs as a way to physically join these two supposedly opposing poles: Indigenity/modernity.