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Shows Current

Wendy Cabrera Rubio

Wendy Cabrera Rubio

Escenario para un genómica Nacional

at Rectangle, Brussels

Opening Friday 22 October, 5–8pm
23 October – 15 December 2021
Open by appointment

Rectangle is pleased to present Escenario para una genomica nacional | Sangre y genética en la post revolución mexicana, a collaboration with Wendy Cabrera Rubio, the first part of a series of pieces in which the artist generates a journey through the myth of mestizo identity in Mexico from the post-revolutionary era to the medical institutions that today continue to generate an echo on the ideals of the mestizo body.

Within this series Cabrera Rubio emphasizes the forms of cultural assimilation that the Mexican government has implemented by means of scientific and sanitary justifications, through the first public health and hygienic education campaigns, supported by the use of strategies such as cinema, radio or petul theater. As well as by the consolidation of organizations such as the National Institute of Genomic Medicine (INMEGEN), which continues to generate categories on genomic differences in the various indigenous communities of the country, validating the idea of mestizaje as the basis for health progress, but also as a fundamental part of the continuous ideological quests for contemporary modernization that continue to permeate Mexico.

Rectangle se complace en presentar Escenario para una genomica nacional | Sangre y genética en la post revolución mexicana, una colaboración con Wendy Cabrera Rubio, la primera parte de una serie de piezas en donde la artista genera un recorrido por el mito de la identidad mestiza en México desde la época posrevolucionaria hasta las instituciones médicas que hoy en día siguen generando un eco sobre los ideales del cuerpo mestizo.

Dentro de esta serie Cabrera Rubio hace hincapié en las formas de asimilación cultural que el gobierno mexicano ha implementado mediante justificaciones científicas y sanitarias, a través de las primeras campañas de salud pública y educación higiénica, apoyándose del uso de estrategias como el cine, la radio o el teatro petul. Así como también mediante la consolidación de organismos como el Instituto Nacional de Medicina Genómica (INMEGEN), el cual sigue generando categorías sobre las diferencias genómicas en las distintas comunidades indígenas del país, validando la idea del mestizaje como sustento del progreso sanitario, pero también como parte fundamental de las continuas búsquedas ideológicas de modernización contemporánea que siguen atravesando a México.

Acknowledgments

Luis Vásquez
Director de fotografía

Omar Mendoza
Asistente de dirección

Manuel Delgado Plazola
Dirección de escena

Michelle Montiel
Titiritera (sangre y adn)

Yafté Arias
Titiritero (José Vasconcelos y mapa genomico de los mexicanos)

Ileana Moreno
Dirección de video

Percival Argüero Mendoza
Sonido directo

María Juana Patricia Rubio Rosas
Norma Rodriguez Rosas
Wendy Cabrera Rubio
Escenografía y títeres

Carlos Carbajal
Tramoyista

Carlos Martínez y Wendy Cabrera Rubio
Guión

Agradecimientos
Avantgardo, José Castañeda, Marek Wolfryd, Javier Fresneda, Natalia de la Rosa. Carlos Carbajal

Documentations

Biography

Wendy Cabrera Rubio, Sangre y genética humana en la posrevolución mexicana 2021 Xilografía con sangre de la artista 0+ 55.2 % de ascendencia genómica amerindia, 41.8 % de ascendencia genómica europea y 3.5 % de ascendencia genómica africana. Marco de madera de cedro. 60 x 50 cm
Wendy Cabrera Rubio (1993) Mexico.
 
Completed her undergraduate studies at ENPEG “La Esmeralda” and later entered the SOMA Educational Program. Her work has been presented collectively at el Museo Universitario de Ciencias y Artes, Laboratorio Arte Alameda, Ex-Teresa Arte Actual, Museo de la Ciudad, Sala de Arte Público Siqueiros, el Colegio Nacional, among others. And individually at, Kurimanzutto, Peana, Biquini Wax EPS, Jumex museum, La Embajada and Nordenhake gallery. It is part of the Young Creators Program FONCA 2021-2022 in the Alternative Media category.

With the gracious support of

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Shows Past

Elen Braga

Elen Braga, Le Tombeau du Géant, Rectangle, Brussels

Elen Braga

Le Tombeau du Géant

Friday 27 August 2021
at Waldburger Wouters, Brussels

Finissage Saturday 15 October, 2–6pm
27 August – 16  October 2021

Rectangle is pleased to present Le Tombeau du Géant, a collaboration with Elen Braga at Waldburger Wouters.

“For the inauguration of the billboard ‘Le Tombeau du Géant’ hosted by Rectangle, I present a work inspired by the historic site of that name, located in the town of Bouillon in Belgium. Tombeau du Géant (Giant’s Tomb) comes from the legend of the giant Gallic hero who refused to be taken prisoner by the Romans and preferred to throw himself off the “Rocher des Gattes” rock instead of dying in the arena of the Colosseum. The next day, the people of Botassart found his body and buried him on top of a hill surrounded by a river. As a result, today the site has become a well-known and photographed touristic attraction, suggesting the transformation of myth into entertainment.

Besides the billboard, I present a series of 4 works that propose an ironic narrative of the soft fall of monuments, and of the fantasy surrounding it.”


Elen Braga is a multimedia artist. Interested in issues related to the self, she researches themes such as strength, ambition and resilience. Her practice often involves self-imposed tasks, as well as intense labor-requiring endeavors. She delves into mythological narratives, revisiting them to examine the ways in which they survive in contemporary behavior and beliefs.

Exhibition view Le Tombeau du Géant by Elen Braga, Rectangle, Brussels
Elen Braga, Le Tombeau du Géant, 2021, Hand-tufted tapestry, 77,5 x 58 cm
Elen Braga, Looking at the hula hoop, 2021, Hand-tufted tapestry, 25 x 31 cm
Elen Braga, Soft fall, 2021, Hand-tufted tapestry, 25 x 31 cm
Elen Braga, Four birds for one piece of fabric, 2021, Hand-tufted tapestry, 25 x 31 cm
Elen Braga, Holding the paradise, 2021, Hand-tufted tapestry, 60 x 59 cm

Documentations

Website: elenbraga.com

Biography

Elen Braga
Born in Maranhão, Brazil, 1984
Lives and works in Brussels

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Reviews

Hearts and Minds – Catalog Launch

Catalog Launch

Hearts and Minds

30 July 2021
at Rectangle, Brussels

Chantal Akerman
Harold Ancart
Jef Geys
Dan Graham
Bodys Isek Kingelez
Robert Lebeck
An-My Lê
Otobong Nkanga
Marina Pinsky
Claudia Peña Salinas
Adam Simon
Momoyo Torimitsu
Hil Ye

Rectangle is thrilled to invite you to the catalog launch of the group show
 Hearts and Minds,
a joint project of carriage trade / Rectangle

We’d like to thank all the artists and the following lenders for their loans of artwork for the exhibition:

Icarus Films (Chantal Akerman), Clearing Gallery, Brooklyn (Harold Ancart), Essex Street/Maxwell Graham (Jef Geys), Greene Naftali Gallery (Dan Graham), Ronald Guttman / Christine Martin, Frédéric de Goldschmidt / André Magnin (Bodys Isek Kingelez), Janice Guy (An-My Lê), Cordula Lebeck, Archiv Robert Lebeck (Robert Lebeck), Lumen Travo Gallery, Amsterdam (Otobong Nkanga), C L E A R I N G, Brussels (Marina Pinsky), and AfricaMuseum (Royal Museum for Central Africa).

A special thanks to Lawrence B. Benenson, LMCC, New York State Council on the Arts (NYSCA), Mr. Jacques Louise Vidal, WBI (Wallonie-Bruxelles International) and FWB (Fédération Wallonie-Bruxelles) for their generous support. Thanks also to gallery assistants Jervey Inglesby, Laura Li, Molly Miller, Hannah Park, Kristal Uribe, as well as Daylon Orr, for all their efforts on the exhibition.

With the gracious support of

Categories
Screening

BOYAMBA BELGIQUE

BOYAMBA BELGIQUE

Or why a king should not lose his sword.

A film by Dries Engels & Bart Van Peel


Online Screening
17 June 2021 – 27 June 2021

carriage trade and Rectangle are pleased to present BOYAMBA BELGIQUE, or why a king should not lose his sword, screening online from June 17- 27, 2021 as part of the exhibition Hearts and Minds, which has been extended through June 27, 2021.

On June 30, 1960, the young Belgian King Baudouin was in Leopoldville (now Kinshasha) for a ceremony to transfer power to the Congolese after more than 50 years of colonial rule. As the procession headed up the crowded main boulevard, a Congolese man came up alongside the limousine from which Baudouin was saluting his troops, stole the King’s sword and ran off. Captured in a now iconic photograph by Robert Lebeck, the image offers proof of a brilliant act of defiance by the colonized in the face of a last, ostentatious display of influence by the colonizer, symbolically taking power before it could be granted.

While the photograph captured the dramatic gesture the instant it occurred, what happened to the man and the sword in the aftermath of the event remained an enigma. Traveling to the Congo 50 years later, the filmmakers Dries Engels & Bart Van Peel try and complete the story of Lebeck’s powerful image, and in searching for the whereabouts of the man and the sword, encounter along the way some of the legacies and consequences of the long shadow of colonial rule.

Hearts and Minds
A joint project of carriage trade and Rectangle, Brussels.
Extended to June 27, 2021

CREDITS:

Directors Dries Engels & Bart Van Peel
Producer Ellen De Waele
In co-production with Isabelle Truc for Iota Production (BE)
Scientific supervisor Zana Etambala
DOP Carl Rottiers
Sound Jevon Lambrechts
Editor Joris Vanden Berk
Componist Andrew Claes
Associate producer Ingrid Coppé
Co -producers Isabelle Truc, RTBF, CANVAS
World Sales Cat&Docs

Categories
Reviews

Revealing the Prickly Side of Imperial “Soft Power” – Hyperallergic

Revealing the Prickly Side of Imperial “Soft Power”
by Billy Anania
Hyperallergic

Otobong Nkanga, "Alterscape Playground (E)" (2005-2015), C-print on aluminium, 19 7/10 × 26 2/5 inches (courtesy the artist and Lumen Travo Gallery, Amsterdam)
Otobong Nkanga, "Alterscape Playground (E)" (2005-2015), C-print on aluminium, 19 7/10 × 26 2/5 inches (courtesy the artist and Lumen Travo Gallery, Amsterdam)

A collaboration between Carriage Trade and Rectangle, Hearts and Minds analyzes the deceptive repackaging of Western imperialism.

At its core, colonialism is an exercise in smoke and mirrors. The colonized subject becomes an object of state terror while historically, government agencies and the media have repackaged these imperial projects as “foreign aid,” giving way to more indirect neocolonial endeavors. Back home, the rhetoric remains the same; politicians’ fiery speeches continue to convince their domestic population that intervention abroad is in their best interest.

Public relations campaigns do much of the heavy lifting in manufacturing deceptive appeals to “peace” and “democracy,” and otherwise misleading through psychological operations (or psyops). During the Vietnam War, President Lyndon B. Johnson told wealthy business owners that “the ultimate victory will depend on the hearts and minds of the people who actually live out there,” as part of a counterrevolutionary strategy to suppress the Viet Minh army. He used the phrase “winning hearts and minds” in 28 public statements to sell the war.

Categories
Reviews

Hearts and Minds – The Manhattan Art Review

The Manhattan Art Review

Hearts and Minds

Chantal Akerman, Harold Ancart, Jef Geys, Dan Graham, Bodys Isek Kingelez, Robert Lebeck, An-My Lê, Otobong Nkanga, Marina Pinsky, Claudia Peña Salinas, Adam Simon, Momoyo Torimitsu, Hil Yeh – Hearts and Minds – Carriage Trade – ****.5
Speaking of art doing something, this show is a great example in that it’s one of the exceedingly rare examples of a good political art show. This is materialist/documentary/archival as opposed to ideological/dogmatic, oriented towards showing the world as it is in a way that leads one to identify injustice and formulate an ideological perspective instead of presenting a predetermined value judgment on a silver platter. Control, propaganda, plants, sex, media, administration, rebellion, architecture, these are simply facts of our existence that must be made sense of in some way to make life navigable. The fact of the matter, though, is that life is simply unnavigable for many due to these forces conspiring to deceive and maintain their opacity to the general public. 

[…]

Categories
Reviews

Hearts and Minds – THEGUIDE.ART

Extract of THEGUIDE.ART. Image credit: Harold Ancart, Untitled, 2019. Courtesy of the artist and C L E A R I N G Gallery.
Extract of THEGUIDE.ART. Image credit: Harold Ancart, Untitled, 2019. Courtesy of the artist and C L E A R I N G Gallery.

THEGUIDE.ART

Hearts and Minds

It was George Orwell who coined “doublethink,” the dangerous capacity of the citizenry to hold contradictory or morally wrong beliefs as a result of political indoctrination—but its terrifying instantiation comes from history, not fiction. “Hearts and Minds,” at carriage trade, a joint project with the Brussels-based gallery Rectangle, draws its name from a Lyndon B. Johnson quote: a war, he suggests, is won not by artillery but by psychology, a so-called hearts-and-mind warfare. Johnson could not win his war, even on its home front: the conflict in Vietnam would come to be seen as a wholly failed endeavor.

[…]

Categories
Shows Past

Hearts and Minds

An-My Lê, Untitled, Ho Chi Minh City, 1995, Courtesy of Janice Guy
An-My Lê, Untitled, Ho Chi Minh City, 1995
Courtesy of Janice Guy

Group Show

Hearts and Minds

Opening Thursday 15 April 2021, 4–8pm
L.E.S. Gallery Evening

15 April – 27 June, 2021
at carriage trade, New York

Chantal Akerman
Harold Ancart
Jef Geys
Dan Graham
Bodys Isek Kingelez
Robert Lebeck
An-My Lê
Otobong Nkanga
Marina Pinsky
Claudia Peña Salinas
Adam Simon
Momoyo Torimitsu
Hil Yeh

Rectangle is thrilled to present Hearts and Minds,
a joint project of carriage trade / Rectangle, Brussels.

Civilization and barbarism are never far apart. As the spoils from subjugating distant countries fill closets, living rooms, and dinner tables, citizens of the empire are encouraged to witness the “improvements” offered by their way of life bestowed upon the many invisible hands responsible for producing it. Employing the tools of public relations to invert standard meanings into their opposites (slavery = freedom, war = peace) the minds of those at home are massaged while villages abroad undergo “pacification”. 

"So we must be ready to fight in Vietnam, but the ultimate victory will depend upon the hearts and the minds of the people who actually live out there."
—Lyndon B. Johnson Remarks at a Dinner Meeting of the Texas Electric Cooperatives, Inc., May 4, 1965

Momoyo Torimitsu, Nanka Igokochi Waruinda (Somehow I don’t feel Comfortable), 2000, Polyurethane coated fabric and electric pumps, dimensions variable, Courtesy of the artist.
Momoyo Torimitsu, Nanka Igokochi Waruinda (Somehow I don’t feel Comfortable), 2000, Polyurethane coated fabric and electric pumps, dimensions variable
Courtesy of the artist.

In the later stages of empire, as exploration paves the way for tourism, far away cultures are promoted as exotic and unpredictable, introducing “otherness” as an affirmation of the ever-expanding necessity to civilize and control. As empires engage in hot and cold wars to extract and defend resources for domestic populations, patriotism and consumerism unite in common pursuits. While new technologies offer increasingly convincing dream worlds that divert the public’s consciousness, the brutal origins of their creation remain mostly behind the scenes.

The dreams of men, the seed of commonwealth, the germs of empires.
—Joseph Conrad, Heart of Darkness, 1899

Bodys Isek Kingelez, Sans Titre, 2001, Plastic Cardboard and Paper, 17.32 × 4.72 × 4.72” (44 × 12 × 12 cm), Courtesy of Ronald Guttman
Bodys Isek Kingelez, Sans Titre, 2001, Plastic Cardboard and Paper, 44 × 12 × 12 cm
Courtesy of Ronald Guttman. Photo Nicholas Knight

With consumerism suffering a pandemic-era blow and a diminishing faith in establishment politics haunting industrialized nations, the pursuit of hearts and minds, so critical to the narrative of empire, struggles to contain blowback from centuries of repressive measures. Filtered through social media feedback loops, governmental and corporate messaging engineered to sway popular opinion now feature distortions and fragmentation that sow confusion while veiling their source, fomenting widespread social unease and sporadic violence.

Living within a kind of informational breakdown, many are now questioning how we got here. Linking past to present through artwork and archival material that collectively address links between the diversions of consumerism and techniques of propaganda in the service of empire, Hearts and Minds, a joint project of carriage trade and Rectangle, Brussels, reflects on the inseparable rapport between public relations and social control both abroad and at home.

—Peter Scott

We’d like to thank all the artists and the following lenders for their loans of artwork for the exhibition:

Icarus Films (Chantal Akerman), Clearing Gallery, Brooklyn (Harold Ancart), Essex Street/Maxwell Graham (Jef Geys), Greene Naftali Gallery (Dan Graham), Ronald Guttman / Christine Martin, Frédéric de Goldschmidt / André Magnin (Bodys Isek Kingelez), Janice Guy (An-My Lê), Cordula Lebeck, Archiv Robert Lebeck (Robert Lebeck), Lumen Travo Gallery, Amsterdam (Otobong Nkanga), C L E A R I N G, Brussels (Marina Pinsky), and AfricaMuseum (Royal Museum for Central Africa).

A special thanks to Lawrence B. Benenson, LMCC, New York State Council on the Arts (NYSCA), Mr. Jacques Louise Vidal, WBI (Wallonie-Bruxelles International) and FWB (Fédération Wallonie-Bruxelles) for their generous support. Thanks also to gallery assistants Jervey Inglesby, Laura Li, Molly Miller, Hannah Park, Kristal Uribe, as well as Daylon Orr, for all their efforts on the exhibition.

With the gracious support of