An anthological and retro-prospective publication on the work of Mexican artist Eugenia Martínez. This review introduces re-sensitizations to the local and global feminist movements that are being shaped and transformed every day. This work brings together the words of women from different generations and contexts who encounter their struggles through gestures and symbols.
The book compiles 20 years of Eugenia Martínez's production and is the first editorial exercise that carries out a critical retroprospective review of her work. In the catalog of Temblores Publicaciones and in the general panorama of Mexican contemporary art, this monograph opens a space for intersectional reflections on some of the most relevant topics of contemporary thought: feminisms, the struggle against gender-based violence, the problem of representation in relation to the concepts of class, race and gender, among others.
Martinez's work alerts us to a multiplicity of relationships between art and feminisms, so rather than a catalog raisonné with pretensions of consecration, Black Star is a bid for sorority, a constellation of women's voices and feminized bodies that are responsible for relating their own work with that of the artist from Monterrey. There are discourses from art history, such as those of Karen Cordero and Mariana Rubio; from feminist activism, such as those of artist and territorial defender Mariana García, photographer and archivist Ana Victoria Jiménez, or anthropologist and curator Ariadna Ramonetti; there are also exercises in literary fiction and creative writing, such as those of Clyo Mendoza, Tonatiuh López and Mirna Roldán; as well as records of conversations held between the artist and other women artists. Together, these voices articulate the general keys not only for the reading of Martínez's work, but also of the historical, political, social and artistic context that surrounds her.
Eugenia Martínez (born 1976 in Monterrey) is a Mexican artist. In her work she has tasked herself with recording the path of contemporary feminist struggles in Mexico, as well as the influence that global feminisms have had on them and their intersections with the problems of race and socioeconomic status. Beyond being an artist who takes refuge in theory, who seeks to spark conversations around the glorification of the different waves of feminism. Using photography as a starting point, Eugenia Martínez recovers archetypal representations of the feminine from those collective archives safeguarded by flea markets, to later intervene them conceptually with texts, scraps of material, and embroidery.
