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For this exhibition, the artist appropriated photographs of tourist blogs, Google maps, and archaeological documents and investigated the archeological archives and “Youtube”. She also photographed the site creating an image file without giving more importance to some documents over others. On the contrary, the enlarged photographs as a collage, folded and found  become a mixture of vernacular, formalist and evidence-based images that deconstruct the geometry of the stone and materialize the Inca site.

Living in the United States, it is impossible for Karina to ignore the current political atmosphere and the malicious rhetoric of the United States government. The president has shown great contempt for Latin Americans that has generated a very complicated situation for immigrants. The artist comments: “If the president of the United States is going to consider proposals for a border wall, why not use Inca technology to build it? My project highlights the archaeological feats of the Incas in the construction of their structures, but also recognizes that the walls lose their meaning over time, becoming artifacts in the landscape, instead of recognizing those policy-laden borders. ”

One of the narrative lines that the artist addresses is the role of women in the construction of Ingapirca. In a photograph we see the artist carrying a stone on her back. Others recontextualize the stones carved by the Incas as part of their body alluding to the idea of ​​the stone and their body as objects. Unlike the walls used as borders, Karina builds her own structures using her body to form a new logic in which she envelops her heritage and positions the main themes of her work.

Conceptually, the project explores the formal and conceptual paradoxes of the naive tourist look and its relationship with the global tourist economy, and at the same time reflects how the sun’s path is affected by the global warming crisis. The artist’s strategy is to eliminate digital information from blogs: anecdotal narratives and generic images to expose their ideological and structural framework, turning them into nineteenth-century analog copies using the glow of the equatorial sun. Instead of functioning as a tourist attraction, “Blogs of the Sun Route” illustrates the construction of tourism as a direct consequence of colonialism and how the ease of digital information perpetuates narratives about “sun and fun” lands.

Curator: Claudi Carrera

Museo Amparo

2 Sur 708, Centro Histórico,

Puebla, México 72000


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