Latinofuturismo: Drawing from the master’s thesis Latinofuturism by the anthropologist Tiago Cunha, I was prompted to think about what future I desire for Latin America. This reflection starts from the idea that imagining a tomorrow necessarily involves protecting and preserving what is proper to the continent: its territories, its bodies, its cultures, and its ways of life. It is within this horizon, between projecting the future and defending the present, that the series is situated.
"Mostra seus dentes, América Latina" [Show Your Teeth, Latin America] is a series of posters inspired by the carrancas of the São Francisco River Valley and by Joaquín Torres García’s Inverted America. Using the geographical outlines of Latin American countries, the posters construct grimaces that do not seek to be carrancas, which would not be appropriate, but rather to converse with them. Like the carrancas, these figures are born from a gesture of protection: of land, people, and Latin American politics against interests that are not their own.
Each poster is signed by the Inverted America icon, used as a starting point for the deformation of maps into faces and expressions. Like a Rorschach test, these figures bare their teeth but leave much to the viewer’s imagination: they are open to projection, almost more effective because of it, as each spectator completes the grimace with their own fear. The series imagines these symbolic presences occupying places where it is necessary to defend the city, culture, and sovereignty of the continent.
"Mostra seus dentes, América Latina" [Show Your Teeth, Latin America] is a series of posters inspired by the carrancas of the São Francisco River Valley and by Joaquín Torres García’s Inverted America. Using the geographical outlines of Latin American countries, the posters construct grimaces that do not seek to be carrancas, which would not be appropriate, but rather to converse with them. Like the carrancas, these figures are born from a gesture of protection: of land, people, and Latin American politics against interests that are not their own.
Each poster is signed by the Inverted America icon, used as a starting point for the deformation of maps into faces and expressions. Like a Rorschach test, these figures bare their teeth but leave much to the viewer’s imagination: they are open to projection, almost more effective because of it, as each spectator completes the grimace with their own fear. The series imagines these symbolic presences occupying places where it is necessary to defend the city, culture, and sovereignty of the continent.
