Denver Art Museum
100 West 14th Avenue Pkwy
February 19 - October 22
The show’s thirteen artists inhabit a dual space straddling the US–Mexico border: All either split their time between the two countries or have immigrated from one side to the other. Asked to engage with the idea of home, the artists present simultaneously personal and political works; issues of identity, social justice, and history all coalesce in this multifaceted and complex exhibition.
In One-Way Mirror, 2017, Jaime Carrejo projects two videos—one of the Mexican landscape shot from El Paso, and one of El Paso as seen from Mexico—on the acutely angled walls of a cavernous passageway. Bisecting the projections, a surface of tinted acrylic both obscures and reveals the scenes behind it, evoking the sense of limited access and desire inherent in the borderland experience. Some artists in “Mi Tierra” collaborated with Denver’s immigrant population: Daniela Edburg’s knitted Alpaca wool reproductions of local rocks, grasses, and lichen accompany photographs of Denver residents styled after Hans Holbein paintings, while Daisy Quezada combines porcelain castings of clothing—much of it worn by recent immigrants either during or after border crossings—with sound recordings of narrated migration experiences. Sometimes abstraction conveys notions of place and identity: In Xochi Solis’s large-scale collages, solid colors and imagery from books and magazines together become a metaphor for lives formed by multiple national identities or environments. In Gabriel Dawe’s Plexus No. 36, 2016, thousands of threads form a gossamer prism spanning an entire gallery wall. Inspired by the strict gender binaries governing Dawe’s own boyhood in Mexico (he was not allowed to sew as a child), the work exuberantly celebrates transcending cultural limitations.
It’s tempting to remark on the timeliness of a show featuring work that confronts issues surrounding immigration and identity during such a contentious period in United States history. But one should also note that the exhibited artists’ practices predate the election—and these concerns have informed their work long before the rest of the country awoke (or were reawakened) to their importance.