Daniela Ortiz
General Joan Prim i Prats

Previously, Ortiz produced a series of photographs related to her research on the position of ‘service architecture’, the vital space given to domestic servants in the modernist architectural houses of South American upper class families.

Following the same formal principal, she has developed a new series called Estat nacio. This  work presents a critical point of view on the construction of a national sovereignty through speeches and laws concerning people who are not considered as citizens according to immigration legislation and the regulations affecting immigrants’ rights and freedom. The project presents an analysis of historical figures related to colonialism, still visible in the public spaces of Barcelona, mainly through monumental statues of military figures, politicians or industrial figures. The series is accompanied by images of institutions that financed and collaborated in colonialism such as the Bank of Barcelona or the Overseas Hispanic Society. A text contextualizes each image and serves as a historical reference for each figure or institution. This is a critical answer to speeches referring to the idea of a Nation-State characterized by a territory, a precise population with a common language and culture.

 

Through her work, Daniela Ortiz aims to generate visual narratives in which the concepts of nationality, racialization, social class and gender are explored in order to critically understand structures of colonial, patriarchal and capitalist power. Her recent projects and research deal with the European migratory control system, its links to colonialism and the legal structure created by European institutions in order to inflict violence towards racialized and migrant communities. She has also developed projects about the Peruvian upper class and its exploitative relationship with domestic workers. Recently her artistic practice has turned back into visual and manual work, developing art pieces in ceramic, collage and in formats such as children books in order to take distance from Eurocentric conceptual art aesthetics.