reviews

  • View of “María Abaddon and Wynnie Mynerva,” 2022. Foreground, from left: María Abaddon, Androfagia (Androphagia), 2022; Wynnie Mynerva, Sendero (Path) (detail), 2022. Background: Wynnie Mynerva, La posibilidad de los deseos hecho carne (The Possibility of Desires Made Flesh) (detail), 2022. Photo: Ian Tevo.

    View of “María Abaddon and Wynnie Mynerva,” 2022. Foreground, from left: María Abaddon, Androfagia (Androphagia), 2022; Wynnie Mynerva, Sendero (Path) (detail), 2022. Background: Wynnie Mynerva, La posibilidad de los deseos hecho carne (The Possibility of Desires Made Flesh) (detail), 2022. Photo: Ian Tevo.

    María Abaddon and Wynnie Mynerva

    Proyecto AMIL

    The title of María Abaddon and Wynnie Mynerva’s exhibition, “Paradiso,” is also that of the last book of Dante Alighieri’s Divine Comedy, the account of a journey through heaven. The show’s curator, Miguel López, never explicitly referred to this poem in his text for the show, but it would fit into his curatorial methodology: a pastiche composed of a range of elements, from historical references to discourses on gender and affect. Traces of this approach could be found, for instance, in the exhibition poster’s design, in which several works are superimposed to create a towering numinous effect,

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