2019, Installation: Red pantyhose, rings and rocks
La Centrale Powerhouse Gallery, Montreal, Quebec, Canada
Tension is a textile installation made of red pantyhose and rocks, which physically and conceptually connects the body to the space that it occupies. The piece can be walked and explored by visitors, experiencing the relation of our bodies to place, borders and boundaries. It interweaves textile narratives that hold and are structured by the memories, experiences and places that shape us, embodying the tense—but still multilayered and strong—social formations and cultural relations involved in the construction of identity.
2019, Installation: Pantyhose and rocks
Gallery of the Notre-Dame-de-Grâce Cultural Centre, Montreal, Quebec, Canada
Synapse in French and English (or Sinapsis in Spanish and original Greek) means "conjunction." This word is commonly used to refer to the point of contact between two nerve cells in the brain.
The textile in situ installation of the same name highlights stories structured by the memories, experiences and places that shape us. The large-scale work, composed of stretched pantyhose, unfolds in the space like an organic framework, becoming an invitation to reconsider the tension between our bodies, territories and borders.
Synapse explores and reflects on the notion of connections: intellectual, spiritual, emotional, physical, and spatial connections. Personal, social and cultural connections. Historical, geographical, political and environmental connections. Connections of the body with the place it inhabits. Connections with one self and with others. Connections with our community.
La Presse (2019), by Éric Clément: Maria Ezcurra, Éveiller les consciences
Convergence Initiative (2019), by Andrée Lessard: Synapse, or how we make accidental connections
Objets personnels / Personal belongings / Objetos personales
Objets personnels / Personal belongings / Objetos personales
2018, 55” Touchscreen.
Participatory Project, involving 21 immigrants from Latin America, currently living in Montreal, Quebec, Canada
This interactive piece is the result of a collaboration between Maria Ezcurra and Nuria Carton de Grammont for the Connections Exhibition at the Montreal Museum of Fine Arts, supported by the Canada Council for the Arts Program New Chapter
Objets personnels exhibits 21 testimonies and objects brought by immigrants from Latin America and some Caribbean countries when they moved to Quebec. With this piece, we intended to re-signify the Art of the Americas Collection of the Montreal Museum of Fine Arts from a participative, diverse, inclusive and postcolonial perspective, creating a collection of personal artifacts, selected in collaboration with the Latin American and Caribbean community in Montreal.
Participants: Abigail Borja Calonga, Rodrigo Buitron Lara, Lidoly Chávez, Eduardo Cruz Alonso, Lydie Dossous, Víctor Espíndola, Daisy Espinoza, Aldyth Irvine Harrison, Sofía Llamas, Adelaida Loreto, Amalia Membreño, Anaïs Montenegro, Flavio Murahara, Tatiana Navallo, Osvaldo Nuñez, Juan Esteban Parra Bermúdez, Martha Remache, Natalie Tavarez, Eduviges Tuctuc, Felipe Varela, Marta Vizcarra.
Photos: Freddy Arciniegas / Video: Germán Andrés Moreno Rojas, Abraham Lifshitz and Diego Rivera Kohn / Interface: siete|media
2016, Canada. 5 x 10 x 3 m.
Photo: Maria Ezcurra.
Reflections is a maze made of silver emergency survival blankets. This puzzling network of paths has several entrances and can be walked through different ways. Made of a reflective material, its exterior reproduces the context in which it is located, and the interior mirrors and responds to the people walking through it. This installation intends to transform an everyday space into an engaging and challenging pathway that temporarily changes our relationship with the world and with ourselves. By physically immersing ourselves in this experience, we leave behind a fast moving and fragmented world, looking for something more personal.
Red Roots/Green Lands
2015, DHC/ART, Montreal, Quebec, Canada
Workshop designed in collaborationwith the DHC/ART’s Education Department for the IMAGINE BRAZIL exhibition, using various found and recycled materials.
The workshop Red Roots/Green Lands invites participants to reflect on the historical and cultural roots of Brazil through the symbol of the pau-brasil (brazilwood) tree. This tree gave the country its name and is inextricably linked to its colonial history. Anabundant resource when Portuguese colonizers arrived in the 16th century, brazilwood was rapidly and intensely exploited by the Portuguese – through the labour of indigenous and African slaves – in order to extract red dye used by the European textile industry.
For the duration for the workshop, the DHC/ART Education room will be transformed into a vast installation with a large tubular structure composed of various found and recycled materials. Lines of wires and thread will extend from its peak, connecting the structure to canvases that cover the walls of the room. These lines evoke branches, but also materialize the various networks and connections omnipresent in our everyday lives, and which are represented and critiqued in the exhibition IMAGINE BRAZIL.
During the workshop, participants are invited to cut fragments of the materials attached to the structure and to select various found objects suspended from the network of lines. They then create a collective landscape-collage using the 2D and 3D elements they have collected. Through this gesture, participants are symbolically confronted by the exploitation of human and natural resources, but are also given the opportunity to propose alternate gestures of reapproprating and recycling objects that would otherwise be disposed of. Inspired by participants’ experience of the exhibition IMAGINE BRAZIL, the landscape-collage allows us to collectively imagine the Brazilian territory from our own perspectives. (https://fondation-phi.org/blog/2015/11/12/workshop-red-rootsgreen-lands/)
Uncover is a participative installation that invites visitors of the Museum of London to create art with clothes. Either by leaving their garments cut and extended on the wall as a textile installation, or by tracing their silhouettes on the walls, participants’ individualities became part of a collective experience.
2015, Articule, Montreal, Quebec, Canada
Sewing pins, metal, wood and black ribbon
Pinned Down (or how to keep hiding thousands of needles in a haystack) is a participative piece made of 100,000 pins. It represents the number of people who have been killed and disappeared in Mexico over the last decade in the name of the so-called "Drug War," highlighting the recent massacre of the 43 students from the Ayotzinapa Rural Teacher's College. This stack intends to materialize a number so big that endsup dehumanizing death, catalyzing a reflection on the many complex forms of violence unfolding in Mexico while linking personal decisions to social issues.
Refusing Silence. Articule Presents Pinned Down by Maria Ezcurra: http://thelinknewspaper.ca/refusing-silence
Taking Action to Commit to Memory: (Another) Day of the Dead, by Megan Mericle : http://www.articule.org
Fur coats (from different animals), cut and extended on the wall
Made in China
The possibility of everything, ScotiaBank Nuit Blanche, Toronto, Canada
Curator: Dominique Fontaine
The installation is composed ofclothes labeled “Made in China,” donated by the community and set in aChinatown alleyway. This collaborative piece functions as a façade filling anempty space between two buildings, creating in this way not only a commercial, but also a physical and a symbolic connection among cultures and individuals.
Canadian Art(2014). 6 Picks for Toronto’s Nuit Blanche
TorontoLife (2014). Comment faire unesculpture de trois étages en vêtements, pour Nuit Blanche ?
Series of Actions
Hair by hair
Action performed with the collaboration of Pedro Orozco
Performance. Made with the collaboration of Stefanie Buxton
2014, Performed with the collaboration of Daniela Valdovinos, Danielle Maither, Denisse Horcasitas, Jennifer Wicks, Jessie Hart, Lee Lapaix, Leigh Cline, María Natividad Vega, Nati Valdovinos and Petra Hoss. Art Souterrain: Eaton Center (March 16) Place Des Arts (March 8) Place Bonaventure (March 1) Montreal, Quebec, Canada,
Installation made with 500 gloves found in the streets and public spaces of Montreal for 3 consecutive winters, hanged like a flag outside of the Maison de la culture de Notre-Dame-de-Grâce
Threads, Trends and Threats
This research-creation project explores the way in which our personal and cultural identities are constantly affected by gender stereotypes. Here we are offering a creative way to explore, question and resist these feminine roles socially imposed to us. More than denying tradition we are reinventing it to generate new understandings of what does it mean to be a wife, a mother, and a female individual today.
This ongoing textile installation was created through a sequence of collaborative actions. Throughout the duration of the show different people from the Concordia community came to the vitrines wearing a garment specifically chosen to be transformed into a sculpture. Together we transformed the configuration and identity of a collective space through a series of shared individualities
Animation and textile performance, in collaboration with G. Scott MacLeod (Photos) and Tatiana Koroleva. BALANCE-UNBALANCE Conference, Concordia University
Performance and Installation
Heaven and Hell
Installation made with red and blue clothes cut and sewed together, and extended in the New City Gas Building
In your shoes
Intervention made in a park in Montreal with 500 found shoes
Action in which I cut the Museum visitors´ labels for sewing them into my dress, made with the tags of my own clothing
2010-2012, Dress made with the support of Victoria Eugenia.
Espacio México, Montreal, Canada Museo del Chopop, Mexico DF
Intervention made in the front wall of an old building in Mexico City’s downtown, which was covered with more than 1000 clothes. Project made with the support of Hostería La Bota
Weaved graphic that shows all the time that I invested waiting, each month, for a year
Six columns made with crinolines
2008-2009, Celarg, Caracas, VenezuelaMuseo el Eco, Mexico DF
The Procession Goes Inside
Nylon stockings sewed together, filled with women shoes
Action made with the public's clothes to create installations on the walls of the Museo de Bellas Artes of Caracas
Action made with the clothes of the passers-by to create installations on the street outside metro stations
15 party dresses with women's names embroidered on their chest. Each name implicates also a female virtue, according to current societal norms.
The Last Scream
This piece takes on fashion as an almost anthropological matter, where the mass of used and discarded garments incorporates little moments of many people’s lives. The ambiguity if this morbid and seductive installation suggests some presences and makes certain absences evident, inviting us to reconstruct and create a personal story from them. Our own altar
2005, firstsite Gallery, Colchester, Inglaterra. Curator: Gabriela Salgado.
2008, Kunsthaus Santa Fé, San Miguel de Allende, México.
2008, Galería Hermenegildo Bustos, Guanajuato, México.
2009, Museo de Arqueología, Bienal de Tesalónica, Grecia. Curator: Gabriela Salgado.
This piece consists of a series of impressions of red underwear bought to celebrate New Year’s Eve for 12 consecutive years. It is a kind of personal metaphor that implicates individual rituals as well as cultural believes, exploring in this way the social taboos constructed around them.
The Perfect Housewife’s Wardrobe
Photographic documentation of five actions made with garments that integrate the woman to her domestic furniture.
Ni una más (Not one more)
Nylon stockings, women's shoes, metal structure and hangers
Interventions made in a factory of plastic packaging in Bayamon, Puerto Rico, using the worker’s uniforms as molds for producing two structures of white foam, produced in the same place.
Body of Work: Swimming Suits
Body of Work: Furs
Body of Work: Stripes
Bringing them back
Interventions made in public spaces in SF using clothes recovered from the street. Each garment was transformed into a sculpture that I brought back to the place where it was found.
67 Gloves in the Tate Gallery
Lost gloves found in London’s public spaces, labeled with their correspondent identification and installed –as tradition suggests- in the fence of the Tate Gallery, becoming in this way liminal objects that can be interpreted both as art and as part of a social action