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Regina José Galindo
Guatemala, b. 1974

Regina José Galindo Guatemala, b. 1974

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Open a larger version of the following image in a popup: Regina José Galindo, Nuestra mayor venganza es estar vivas, 2021
Open a larger version of the following image in a popup: Regina José Galindo, Nuestra mayor venganza es estar vivas, 2021
Open a larger version of the following image in a popup: Regina José Galindo, Nuestra mayor venganza es estar vivas, 2021
Open a larger version of the following image in a popup: Regina José Galindo, Nuestra mayor venganza es estar vivas, 2021

Regina José Galindo Guatemala, b. 1974

Nuestra mayor venganza es estar vivas, 2021
Video HD.
6’ 57’’
Edition of 5 + 3AP
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Further images

  • (View a larger image of thumbnail 1 ) Regina José Galindo, El dolor en un pañuelo, 1999
  • (View a larger image of thumbnail 2 ) Regina José Galindo, El dolor en un pañuelo, 1999
  • (View a larger image of thumbnail 3 ) Regina José Galindo, El dolor en un pañuelo, 1999
  • (View a larger image of thumbnail 4 ) Regina José Galindo, El dolor en un pañuelo, 1999
The performance Nuestra mayor venganza es estar vivas (Our Greatest Revenge is to Be Alive) follows the scheme of “appearances” by Galindo. Carried out in the town of Artà (Mallorca)...
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The performance Nuestra mayor venganza es estar vivas (Our Greatest Revenge is to Be Alive) follows the scheme of “appearances” by Galindo. Carried out in the town of Artà (Mallorca) by 37 women from a group of Ball de bot, a Majorcan regional dance. The number of participants coincided with the number of women murdered by gender violence in the Balearic Islands since this dismal official count exists. The performers made their castanets sound under the enormous fabrics that covered and restricted them, drowning their clatter as a metaphor for those social structures that try to hide terrible situations. On this occasion, they could not prevent the accumulated percussion of all of them from becoming a powerful and audible scream of rage.
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