RoFa Projects Presents Walking together: For them and for us. at Mason Exhibitions

By Editorial Team on December 6, 2021

Thu, 11 November 2021 - Fri, 18 February 2022

Courtesy of RoFa Projects.
On view through February 18, 2022.

Walking together: For them and for us.
“Walking together: using art as a social tool for transforming reality, opens a way to a creation committed to the feminist agenda, as a reaction to the escalation of violence against women.

Because the what is personal is political, Walking together brings together a group of artists from Latin America whose work denounces violence against women and the perpetuation of hegemonic models where the subjugation of women has become the norm.

Half of the population lives in fear of walking alone; there is still room for everyday discriminatory discourse and gender violence is the leading cause of death for women aged 15 to 44 worldwide (according to the UN), which puts this ahead of deaths caused by cancer, traffic accidents or wars.

This exhibition is about women walking together in sorority. It is for them, those who no longer have a voice and for us, those who continue in fear, but also in the daily struggle.

The story is told by its protagonists; but that does not always happen – many of them are gone, they disappeared and they cannot recount it.

This group of artists unite to become a channel that helps to talk and continue to place alerts on the pain of others. In addition, it places the accent on the transversality and strength of feminism and the will to recover the integrity of the feminine.

Gender violence is intersectional and collective, it affects and strikes all social classes, races, ages, nationalities, places in the world, ethnic groups, and generations. Femicide does not discriminate and is redefined from a complicit silence and a great absence of empathy on the part of society.

Walking Together emphasizes art as a socio-political tool and takes it out of its most traditional spaces and themes, thereby opening a new option for a cultural landscape. Where does art end and activism begin? At what point does activism become art?

In a world where the normalization of the death, aggression and rape of women prevails, this group of artists unites through photographs, paintings, performances and sculptures to talk about the social and patriarchal construction of hate crimes against women, for the very fact of being it and how the established and accepted impunity determines it.

It is an exercise in criticism of a patriarchal socio-political system from an art perspective.”
– Gabriela Rosso

About the Artists

Regina José Galindo
Guatemala, 1974
Regina Jose Galindo is a visual artist and poet, whose main medium is performance. Galindo lives and works in
Guatemala. Using her own context as a starting point to explore and accuse the ethical implication of social violence and injustices related to gender and racial discrimination, as well as human rights abuses arising from the endemic
inequalities in power relations of contemporary societies.

Galindo received the Golden Lion for Best young artist in the 51st Biennial of Venice for her work Quién puede borrar las
huellas and Himenosplastia, two crucial pieces of her work.

Lorena Wolffer
Mexico, 1971
For more than twenty years, the work of the artist and cultural activist Lorena Wolffer has been a permanent site for
enunciation and resistance at the intersection of art, activism, and feminism.

Her work revolves primarily around gender and seeks the rights, agency, and voices of women and people with nonnormative identities. From the creation of radical cultural interventions with diverse communities to the elaboration of new pedagogical models for the collective development of situated knowledge, these projects take place within an arena that recognizes the relevance of experimental languages and shifts the border between what we know as high and low culture.

Wolffers work – a setting for the voice, representations and narratives of others – articulates cultural practices based on respect and equality.

Silvia Levenson
Argentina, 1977
Originally from Buenos Aires, Argentina, Silvia Levenson immigrated to Italy in 1981, during the “disappearances” of the Dirty War.

She explores daily interpersonal relationships through installations and objects that state firmly what is usually felt or whispered. Her work is centralized on this unspeakable space, which is oftentimes so small, located between what we can see and what we feel, and she uses glass to reveal those things that are normally hidden.

Ana De Orbegoso
Perú, 1964
Ana De Orbegoso is an artist born in Peru whose interdisciplinary artistic practice explores different aspects of the individual or social psyche with popular iconography and situations on stage.

Her objective is to confront the viewer with a mirror, to awaken recognition, thought and memory.

For the artist, identity and gender are reflections always present in her artistic production.

Priscilla Monge
Costa Rica, 1968
Priscilla Monge is a post-media artist who has been pursuing her career since the mid-1980s in a context in which patriarchal structures were the main basis of social behavior, also being one of the most outstanding female figures of contemporary Latin American art.

In her work she explores the power relations that exist in the female body as a catalyst for politics, where femininity in
particular operates as an effective way to discipline the female body.

Other aspects of her work focus on the presence of violence in everyday life and on the often invisible junctures between aggression, pleasure, love and tenderness.

Claudia Casarino
Paraguay, 1974
Claudia Casarino´s artworks often deal with subjects surrounding gender issues, beauty canons, the roles imposed to women and those that women impose on themselves.

These explorations are frequently intertwined with the body and its relationship with clothes. Her work brings her personal history which she transmits through her own body, to bring it to the social dimension.

Mexico, 1981
Feminist ARTivist who uses art as a tool to question the social construction of Otherness and promote dialogue and reflection on HRD issues, especially gender.

She uses photography, performance and the intervention of public space as the main media, with citizen participation being a key element in her artistic practice.

Eugenio Merino
España, 1975
Eugenio Merino’s works are balanced between belief and disbelief, paradoxes and logic, taste and bad taste, respect and offense. The artist often assumes a cynical role and reveals uncomfortable views of contemporary societies.

Throughout his career, Merino has demonstrated the ability to establish a transdisciplinary work, capable of merging different media such as neorealist sculpture, paintings, drawings or installations. He finds inspiration in a popular imaginary and in the media that he combines with dialectical, metaphorical and metonymic means to assemble his works of art.

The opposition of different realities, as well as disparate references and symbols, also generate different possible ways of reading his artistic production. Elements from 21st century iconography and cultural stereotypes that have shaped Western thought can be found in his works of art with an added sense of acid irony and discursive sarcasm.

Avelino Sala
España, 1972
The aesthetics —that also have a strong ethical sense— raised by Avelino Sala throughout his career articulate a discourse certainly personal, coherent and yet complex in the way we read it and look at it.

The diversity of mechanisms and expressive languages employed by the artist, which include among others video, sculpture, photography, neon, drawing or objects, express his (coherent) idea of art, but at the same time it’s complexity on the diversity of views.

Ronald Moran
El Salvador, 1972
His professional career started in the 90’s, through drawing and collage. From the beginning his artwork has been marked by the poetic interpretation of everyday topics and notable social content, and the effects of migration in culture as well as the presence of domestic violence in everyday relationships.

The treating of recurrent themes in all cultures has created an open dialogue with a more comprehensive review.

His artistic creation is very diverse; he develops series that formally appear very different from each other, but conceptually interwoven with a thread that characterizes his work, especially the ironic sense and the metaphorical use of the images. His means of expression are manifold, including installation, photography, video, painting and object art.

Luisi Llosa
Perú, 1981
Llosa advocates to the body as a disposable thing, understanding it as the place where all the wounds of our society caused by violence, inequality and war take shape.

The body is presented as an abstract place, fragile and prone to to be violated, as a place that in its surface carries all the wounds that we cause each other.

Annette Turrillo
Venezuela, 1977
Annette Turrillo’s artwork focuses on the themes of reflection, introspection, and symbolism. Her installations take the
spectator through a sensorial experience of space and volume, establishing a dialogue between spirit and body.

Serenity and harmony in the inner world are some of the sensations you experience when observing Annette’s work.

The large cloth evokes serenity, reflection about human balance and inner view, and has been the central axis of her work throughout the years.

Claudia Rodriguez
México, 1966
With my work, I seek to translate into forms or actions, concepts that have meaning to me, I am interested in their power to question, especially if they have a political or social impact.

My production explores themes that have to do with identity, consumer society, migration, memory, the contemporary city and nature.

I’m interested in giving visibility to things that go unnoticed, from everyday gestures to relevant social situations. I use video, text, word games and the resignification of materials, exploring different ways of perceiving and understanding reality.

Erika Harrsch
México, 1970
Harrsch’s work, thematically aligned with the butter fly, share content based on migration and the surrounding circumstances that define identity, nationality and global mobility.

Starting with these projects, she has further elaborated on the complexity of the migratory experience, to approach immigration reforms and the recontextualization of the physical borders.

Manuela Viera Gallo
Italy/Chile, 1977
Viera Gallo has made her experience as a migrant and her journeys the central theme of her work, as she intelligently combines themes such as memory and authoritarian regimes, power relations and the relationship between utopia and dystopia that operate in the geopolitical and cultural borders of modern nation-states.

Her work as an artist has been strongly shaped by the social and political violence that has affected the history of most Latin American countries.

Her practice presents a multidisciplinary body of work that departs from absurdity to manipulate and distort known symbols and imagery into an allegorical, fantastical and darkly comical framework that allows her to take ownership of subsequent transformations to analyze different processes of society

RoFa Projects is a gallery that promotes contemporary art with an emphasis on Latin America. We work with artists who seek to reflect a more experimental concept of the work of art.

At RoFa Projects we see art as a generator of critical spaces, for us art has many stories to tell, that is why we prioritize content framed within contemporary dynamics and trends. Mainly artists interested in the artistic discourse associated with the different visions of the sociopolitical processes with which we live worldwide. Those who define us as community and collectivity.

The gallery RoFa Projects, include three major areas RoFa Art, RoFa Projects and La Morada. More information at Mason Exhibitions located at 3601 Fairfax Dr, Arlington, VA. For more information go to