This workshop, taught by Maya Juracán, proposes a critical and experiential reflection on the art world as a competitive, patriarchal and violent space, where the “pie” represents the symbolic and economic capital that few people share out. From the collective experience of La Revuelta and from a feminist, anti-capitalist and communitarian point of view, we not only ask ourselves who distributes the pie, but how we all learn to be cake makers. In this action, we invite BIPOC, women, non-binary, or trans people of all genders to make a physical pie, using their own tools and forms, to talk together about collective and communitarian spaces in art, understanding that each cake, like each practice, can be different, tasty, free, contradictory. The goal is to imagine together other ways of inhabiting art: as a territory of enjoyment, resistance and autonomous creation.
This workshop is free but has limited capacity (15 participants) and requires registration.
If you are BIPOC, woman, non-binary, or trans person of all genders and would like to attend the workshop, please register by filling out this form:
https://docs.google.com/forms/d/1hwIq1dIqoQeIwWTzVl5gsCkG4Bty7xLbv0HvBZWcJRU/edit
Curator and activist Maya Juracán (b. 1987, Guatemala City) has a background in language, literature, social sciences, contemporary art, and cultural management, which enables her to reshape historical narratives through art. In 2011, Juracán founded Proyecto 44, an initiative that brought art to the streets during social protests, laying the groundwork for the ongoing Bienal En Resistencia—a biennial challenging traditional spaces on Guatemala's streets. Additionally, Juracán co-curated the 21st Paiz Art Biennial with Gerardo Mosquera and co-created the collective La Revuelta, which explores feminist curatorial practices. Through various published essays, Juracán explores counter-structural possibilities within the art world, theorizing new forms of artistic expression. She has been invited as a speaker at MoMA PS1 and the Museums Roundtable in Medellín, and has authored numerous texts on art, resistance, and systemic revolution through art. Currently, she is a professor of Contemporary Art History at Francisco Marroquin University in Guatemala.
