For her first solo exhibition in Spain, Tamar Guimarães presented the thirty-six-minute film La incorrupta (The Uncorrupted), 2016, which was commissioned by the Reina Sofía. In it she presents a story about a guest curator and her potential exhibition, using the very museum in which the work is screened as the film’s setting. Throughout the filman amalgam of documentary, fiction, and essayviewers are privy to conversations among the curator (played by the artist), museum director, and staff, in addition to confidential discussions among the latter. The exhibition’s point of departure is a seventeenth-century reliquary in the province of Málaga, Spain, containing the incorrupt hand of the Spanish mystic Saint Teresa of Ávila. The film concludes with the curator making a formal presentation to staff and students, during which she stresses “corruption as a human condition,”
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