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Laura Anderson Barbata

May 18, 2024

Laura Anderson Barbata (born 1958) is a contemporary artist.[1] Based in Brooklyn and Mexico City, Barbata's work uses art and performance to encourage social justice by documenting traditions and involving communities in her practice.[1]

Laura Anderson Barbata
Born1958
Mexico City, Mexico
MovementContemporary art

Early life and education edit

Laura Anderson Barbata was born 1958 in Mexico City, Mexico. She moved to Sinaloa, where her father was a restaurateur,[2] and spent the early part of her childhood in Mazatlán with little or no access to museums.[3]

When she was 10 years old, Barbata's family moved to Europe. The first museum her parents took her to was the Louvre.[3] Deeply impacted by the Winged Victory of Samothrace, Barbata began to explore the world through drawing.[3] She studied sculpture and engraving at the School of Visual Arts at the University of Rio de Janeiro and architecture in Mexico City.[4]

Work edit

Anderson has exhibited in the United States, Mexico, Europe, and South America. She is in the permanent collection and has shown at the Metropolitan Museum of Art, New York, NY; The Museum of Modern Art, Mexico City, Mexico; and the Museum of Modern Art, Rio de Janeiro, Brazil, among others.[4] Barbata has organized projects in the Amazon of Venezuela, Trinidad and Tobago, Mexico, Norway and the USA.[5] Among her current projects include The Repatriation of Julia Pastrana and her project Transcommunality (ongoing since 2001) with traditional stilt dancers from New York, West Africa, the Caribbean, and Oaxaca, Mexico.[5]

Barbata's art is deeply entwined with social practice, community engagement, and postcolonial critique.[6] For the Yanomami Paper Project, Barbata worked as an apprentice to the Yanomami Community in the Amazonas region of Venezuela.[7] In return, she taught the community how to make books and paper from local resources.[3] Barbata has continued to work with this community, producing books in the Yanomami language with drawings by the community's children.[3] The Yanomami community continues to make their own papers and books.[3] Some of these books are now held in collections including the Library of Congress, and the New York Public Library.[8]

Transcommunality edit

In 2002, while working as an artist-in-residence in Trinidad and Tobago, Barbata was introduced to the founder of the Keylemanjahro School of Arts and Culture in Port-of-Spain.[9] The school hosted an after school stilt dancing program open to all kids, intended to keep children out of trouble while also engaging them in the cultural tradition of stilt dancing to prepare for the annual NCBA Junior Carnival Parade.[10] Barbata worked with Keylemanjahro for 5 years alongside the students and parents to create costumes for their performances.

The group worked with little to no resources and relied exclusively on the help of parents in the neighborhood. The children had been creating their costumes by painting their bodies with toxic house paint. Additionally, students participated in carnival with the same presentation every year, which excluded them from competing for character awards. Barbata suggest that the children could develop and create their own costumes to learn about the environment and other cultures, and worked with Keylemanjahro to discuss possible themes and design of characters for the kids to portray and compete.[3]

In 2007, Barbata returned to New York and continued her work with stilt dancing by collaborating with the Brooklyn Jumbies, a group of stilt dancers from the West Indies and West Africa. Together they hosted Jumbie Camp, a workshop to train young stilt dancers and prepare for a street performance on 24th Street in Chelsea, and later for the West Indian American Junior Carnival Parade.[3]

Barbata has continued to work with the Brooklyn Jumbies to extend outreach programs in different parts of the country, particularly in communities or areas that are populated by Mexican descendants and African-Americans. They have staged multiple spontaneous interventions around New York City. In 2011, Barbata and the Brooklyn Jumbies staged Intervention: Wall Street in response to the economic crisis. The performance took place in the financial district of New York. The Moko Jumbies walked on stilts in business suits towards Wall Street, while Barbata strolled and danced in front handing out gold-covered chocolate coins. The coins had the word Mexico on it. Intervention: Indigo took place in 2015 in Brooklyn, New York in response to violence against African American communities. The performance began at the Bushwick police precinct and ended in an area populated by artists. The performers were dressed in indigo-colored textiles inspired by the Danza de los Zancudos (traditional stilt dancers from Zaachila) from Oaxaca and the Dance of the Devils (Danza de los diablos) from the Afro-Mexican coast of Guerrero.[6]

Julia Pastrana edit

In 2003, Barbata learned about Julia Pastrana when she was invited to collaborate on designs for the New York premiere of the play The True History of the Tragic Life and the Triumphant Death of Julia Pastrana, the Ugliest Woman in the World by Shaun Prendergast.[11] Barbata felt deeply moved by Pastrana's story and drew a connection to her own childhood experience growing up in the same area of Mexico as Pastrana and dancing for money.[12] Barbata's ultimate dream goal was that Pastrana should go back to Mexico and be buried.[3]

In 2005, during a residency in Oslo, Barbata began petitioning the Institute of Forensic Medicine at the University of Oslo for Pastrana's repatriation. In September, she published an obituary for Pastrana in an Oslo newspaper that informed that there would be a catholic ceremony (faith that Ms. Pastrana practiced during her life). Barbata organized the catholic mass in memory of Julia Pastrana in the Cathedral of Oslo. The ceremony was attended by hundreds of people, many of whom were circus performers who brought her flowers.[13]

Barbata sent documents making her case for Pastrana's release to Norway's National Committee for the Evaluation of Research on Human Remains. Barbata also wrote letters to the National Research Ethics Committee for the Social Sciences and Humanities, the Governor of Sinaloa in Mexico, the Foreign Affairs Department of Mexico, the University of Oslo, journalists, artists, and anthropologists. Many of these recipients became invested in the project.[14]

In 2012, Governor Mario López Valdez of Sinaloa joined Barbata's cause and petitioned for Pastrana's repatriation. López Valdez sent a letter to the National Committee for Ethical Evaluation on Human Remains, NESH, to request for the repatriation of Julia Pastrana to her native state for burial. His letter was accompanied by a letter by Barbata that included the moral, ethical and social justifications for Pastrana's return to Mexico for burial.[5] NESH responded to the repatriation petition with a document recommending that Julia Pastrana be repatriated to México.

The University of Oslo and the Institute of Basic Medicine of the University of Oslo received NESH's recommendation, a formal petition from López Valdez's, as well as a letter from Barbata herself. The university accepted Julia Pastrana's repatriation to Mexico, but with the conditions that she never be exhibited again, that she be buried and not cremated, and that she be given funeral services following her Catholic faith.[15]

On February 7, 2013, Barbata confirmed the identity of Pastrana's body in Oslo before the coffin was sealed. Ms. Barbata and a University of Oxford forensic anthropologist, Nicholas Márquez-Grant, noticed that Pastrana's feet still had bolts and metal rods that were used for exhibiting her body. The bolts were removed and placed at the foot of her coffin.[16] Pastrana's coffin was transported by plane from Oslo to Culiacán where she was welcomed with a military arrival. The following day, on February 12, the coffin of Julia Pastrana was transported from Culiacán to Sinaloa de Leyva. She was welcomed with official ceremonies and a funeral mass, then taken to the Municipal Cemetery following local traditions. Julia Pastrana's coffin was covered in flowers and buried. Pastrana was dressed in an indigenous huipil made by Francisca Palafox, a master weaver from Oaxaca[11] and placed in her coffin with a photograph of her child on her chest. Her tomb was covered in concrete and enclosed in walls that measure more than 1 meter in thickness to ensure that her tomb will never be vandalized and to guarantee that she will never be exposed again. The tomb was then covered with thousands of flowers that had arrived from all over the world.[5]

Barbata's book The Eye of the Beholder: Julia Pastrana’s Long Journey Home brings together contributors from a wide variety of fields to explore Pastrana's story.[16] Barbata has explored Pastrana's story through a variety of other mediums, such as through performance work, photography, and stop motion animation.[13]

Selected exhibitions edit

Solo exhibitions/performances          edit

  • Intervention: Indigo. Museo Textil de Oaxaca, Oaxaca, México. (2018)[6]
  • Intervention:Ocean Blues. Performance in collaboration with the Brooklyn Jumbies. Isabella Stewart Gardner Museum, Boston; DUMBO, Brooklyn, New York. Commissioned by Isabella Stewart Gardner Museum, Boston and supported by No Longer Empty in Brooklyn, NY. (2018)[17][18][19]
  • Original is Never Finished. Adidas film Shoot. New York. In collaboration with the Brooklyn Jumbies. Director: Monty Marsh. (2018)[3]
  • The Eye of the Beholder. A Performance Work in Progress. Amphibian Stage Productions New Plays Development Residency, Fort Worth, Texas. Director: Tamilla Woodard, Digital Design: Katherine Freer (2018)[20]
  • Tiempo Local: arte y activismos para una memoria fronteriza. Laura Anderson Barbata: La extraordinaria historia de Julia Pastrana, Centro Cultural España. Santiago de Chile (2018)[3]
  • Ocean Calling. Performance in collaboration with Chris Walker, the Brooklyn Jumbies and Jarana Beat. United Nations Plaza, New York. Commissioned by TBA21 Academy, Vienna (2017)[21][22]
  • Intervention: Raphael Red. Performance in collaboration with the Brooklyn Jumbies. Isabella Stewart Gardner Museum, Boston (2017)[3]
  • Ocean Blue(s). Performance in Collaboration with the Brooklyn Jumbies. NTU Centre for Contemporary Art Singapore (2017)[3]
  • La Extraordinaria Historia de Julia Pastrana. Performance Work-in-progress, in collaboration with Fem Appeal. Columbia College Chicago; Rutgers University, NJ (2017)[3]
  • What-Lives-Beneath, TBA21 The Current Convening (performance in collaboration with Amina Blackwood-Meeks, Chris Walker, the Brooklyn Jumbies and the National Dance Company of Jamaica), Kingston, Jamaica (2016-12)[3]
  • Laura Anderson Barbata: Collaborations Beyond Borders (exhibition), Mary H. Dana Women Artists Series Galleries, Rutgers University, New Brunswick, NJ (2016)[3]
  • Transcommunality: Laura Anderson Barbata, Collaboration Beyond Borders, Cornell Fine Arts Museum, Orlando, Florida (2016)[3][23]
  • Helen Louise Textile Collection Gallery, University of Wisconsin, Madison (2016)[3]
  • BRIC Art House, Brooklyn, New York (2016)[3]
  • Centro de las Artes, Monterrey, NL (2016)[3]
  • Museo de la Ciudad de México (2016)[3]
  • Museo Textil de Oaxaca, Mexico (2016)[3]
  • Intervention: Indigo (public street performance in collaboration with Chris Walker, the Brooklyn Jumbies and Jarana Beat), Brooklyn, New York (2015)[3]
  • Harlem Art Factory Festival (public street performance in collaboration with the Brooklyn Jumbies), Harlem, New York La Repatriación de Julia Pastrana (exhibition), Festival Internacional Cervantino, Museo Iconográfico del Quijote, Guanajuato (2013)[3]
  • A Flower for Julia (international call to send a flower to be placed on Julia's grave the day of her burial in Mexico), Sinaloa de Leyva, México (2012)[3]
  • Intervention: Wall Street (public street performance in collaboration with the Brooklyn Jumbies), Financial District, New York Zancudos, Zanqueros en Zaachila (public street performance in collaboration with the Brooklyn Jumbies and los Zancudos de Zaachila), Oaxaca, México (2011)[3]
  • Among Tender Roots (exhibition), Columbia College Chicago Center for Book and Paper Arts, IL (2010)[3]
  • Jumbies Fort Worth! (performance and outreach program in collaboration with the Brooklyn Jumbies and Amphibian Stage Productions), Fort Worth, TX (2009)[3]
  • Jumbies! (performance and outreach program in collaboration with the Brooklyn Jumbies and Amphibian Stage Productions), The Modern Art Museum of Fort Worth, TX (2008)[3]

Selected group exhibitions edit

  • Day of the Dead (concert in collaboration with Apparatjik, Concha Buika and Void), Bergen International Music Festival, Norway Ejercicios exploratorios II: Creadoras contemporáneas en la colección MACG, Museo Alvar y Carrillo Gil, México City (2016)[24][25]
  • The Quixotic Days and Errant Nights of the Knight Errant Don Quijote (character design), Amphibian Stage Production, Fort Worth, TX. ( [26]
  • Caribbean: Crossroads of the World, Perez Art Museum, Miami, FL; El Museo del Barrio, New York, NY; Queens Museum of Art, Queens, NY; Studio Museum Harlem, New York, NY. (2015) [27][28]
  • Social Paper: Hand Papermaking in the Context of Socially Engaged Art, Center for Book and Paper Arts, Columbia College Chicago, IL FOCO14, Festival de las Artes ARC, Coquimbo, Chile 59 (2015)[3]
  • X Bienal Monterrey, FEMSA, Museo de Arte Contemporaneo Monterrey, México Invitational: Twenty Jurors, Woman Made Gallery, Chicago, Il Second Generation, Columbia College Chicago, Chicago, Il (2012)[3]
  • Mujeres detrás de la lente: 100 años de creación fotográfica en México, CECUT, Tijuana, México (2011)[3]
  • AIO: Art in the Open Philadelphia, Schuylkill Banks Park, Philadelphia, PA Ciudadanas (collaboration with the Museo de Mujeres Artistas Mexicanas), Museo Universitario del Chopo, Mexico City (2010)[3]
  • Hecho en casa: Una aproximación a las prácticas objetuales en el arte mexicano contemporáneo, Museo de Arte Moderno. México City The Muhheakantuk in Focus, Wave Hill, Bronx, NY The Art of Personal Adornment, Inez and Milton Shaver Gallery, The Dahl Arts Center, Rapid City, SD (2009)[3]
  • Cardinal Points (Puntos Cardinales): A Survey of Contemporary Latino and Latin American Art from the Sprint Nextel Art Collection, Itinerant exhibition, USA (2007-2009)[3]

Selected awards, grants, and honors edit

  • Miembro del Sistema Nacional para Creadores, Fondo Nacional para la Cultura y las Artes, CONACULTA, México (2015–18)[3]
  • Artist in Residence, Isabella Stewart Gardner Museum, Boston, MA (2016)[3]
  • Women in the Arts Award, Celebrating the Genius of Women, Orlando, FL (2016)[3]
  • The Current Fellow, Thyssen-Bornemisza Contemporary Art, Vienna, Austria (2015)[3]
  • Honorary Fellow, Latin American, Caribbean and Iberian Studies (LACIS), University of Wisconsin, Madison (2015)[3]
  • Arts Institute Interdisciplinary Artist in Residence, University of Wisconsin, Madison (2015)[3]
  • Segundo Concurso de Fotografía Contemporánea de México, Photography Award, Fundación Mexicana de Cine y Artes, A.C., México (2013)[3]
  • Selection Committee, Visual Arts Grants, Sistema Nacional de Creadores de Arte, FONCA-CONACULTA, México (2013)[3]
  • Advisory Board, Museos Vivos, México (2013)[3]
  • Residency, Interdisciplinary Arts Department and Columbia College Chicago Center for Book and Paper, IL (2012)[3]
  • Advisory Council, Artistic Dreams International, New York, NY (2011)[3]
  • Miembro del Sistema Nacional para Creadores, Fondo Nacional para la Cultura y las Artes, CONACULTA, MX (2010–13)[3]
  • Robin Fund Residency, Center for Book & Paper / Interdisciplinary Arts Dept., Columbia College, Chicago, IL (2010)[3]

References edit

  1. ^ a b "Laura Anderson Barbata". www.gardnermuseum.org. Retrieved 2019-03-24.
  2. ^ "A remarkable 19th-century woman gets a true champion in an interactive play about beauty". star-telegram. Retrieved 2019-03-24.
  3. ^ a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac ad ae af ag ah ai aj ak al am an ao ap aq ar as at au av "LAURA ANDERSON BARBATA: Collaborations Beyond Borders" (PDF). Center for Women in the Arts and Humanities.
  4. ^ a b "Laura Anderson Barbata – Ruiz-Healy Art". Retrieved 2019-03-24.
  5. ^ a b c d "Laura Anderson Barbata". Laura Anderson Barbata. Retrieved 2019-03-25.
  6. ^ a b c "Terremoto | Intervención: Índigo". Terremoto. 2019-01-25. Retrieved 2019-03-25.
  7. ^ "Laura Anderson Barbata talks about her work". Colección Patricia Phelps de Cisneros. 2019-01-31. Retrieved 2019-03-25.
  8. ^ "Laura Anderson Barbata". ARTE AMAZONIA provides a global voice through art for the indigenous cultures of the Amazon. Retrieved 2019-03-25.
  9. ^ Cotter, Holland (2007-09-07). "Jumbie Camp - Laura Anderson Barbata - Art - Review". The New York Times. ISSN 0362-4331. Retrieved 2019-03-25.
  10. ^ Brooks, Katherine (2014-08-11). "Welcome To The Magical World Of International Stilt-Walkers". Huffington Post. Retrieved 2019-03-25.
  11. ^ a b "An Artist Repatriates the Body of Julia Pastrana, an Indigenous Mexican Woman Exhibited as a "Freak"". Hyperallergic. 2018-01-19. Retrieved 2019-03-25.
  12. ^ "Ugly truths: Work-in-progress talk performance examines the life of Julia Pastrana". Brooklyn Paper. 11 February 2019. Retrieved 2019-03-25.
  13. ^ a b "Bibliography, Artistic and Scholarly Production · Julia Pastrana Online". juliapastranaonline.com. Retrieved 2019-03-25.
  14. ^ Wilson, Charles (2013-02-11). "Julia Pastrana, Who Died in 1860, to Be Buried in Mexico". The New York Times. ISSN 0362-4331. Retrieved 2019-03-25.
  15. ^ "Julia Pastrana's Long Journey Home: A Conversation With Laura Anderson Barbata". The Order of the Good Death. 2017-12-21. Retrieved 2019-03-25.
  16. ^ a b The eye of the beholder : Julia Pastrana's long journey home. Anderson, Laura, 1958-, Bondeson, Jan,, Garland-Thomson, Rosemarie,, Kester, Grant H.,, Márquez-Grant, Nicholas, 1976-, Lovejoy, Bess. Seattle. 2017. ISBN 9780692762189. OCLC 961003807.{{cite book}}: CS1 maint: location missing publisher (link) CS1 maint: others (link)
  17. ^ "Laura Anderson Barbata". www.gardnermuseum.org. Retrieved 2019-03-27.
  18. ^ "Artist brings indigenous rituals, costumes and stilt walkers to contemporary urban environments". WHYY. Retrieved 2019-03-27.
  19. ^ Web (2018-07-31). "Isabella Stewart Gardner Museum celebrates final Neighborhood Night with block party featuring Brooklyn Jumbies August 9". Sampan.org. Retrieved 2019-03-27.
  20. ^ "A remarkable 19th-century woman gets a true champion in an interactive play about beauty". star-telegram. Retrieved 2019-03-27.
  21. ^ Elias, UN Photo/Manuel (2017-06-08). "Performance Piece Marking World Oceans Day". United Nations Photo. Retrieved 2019-03-27.
  22. ^ Thyssen-Bornemisza Art Contemporary (TBA21). "Press Release".{{cite web}}: CS1 maint: numeric names: authors list (link)
  23. ^ "Transcommunality: Laura Anderson Barbata, Collaboration Beyond Borders". www.rollins.edu. 2016. Retrieved 2019-03-27.
  24. ^ "Day of the Dead | magne f archive". 20 May 2016. Retrieved 2019-03-27.
  25. ^ "Apparatjik to perform at Bergen International Festival in June". a-ha live. Retrieved 2019-03-27.
  26. ^ Liner, Elaine (2015-07-14). "Amphibian Stage's Quixotic Days Tilts at the Windmills of Your Mind". Dallas Observer. Retrieved 2019-03-27.
  27. ^ "Caribbean: Crossroads of the World". The New York Times. 2015-08-23. ISSN 0362-4331. Retrieved 2019-03-27.
  28. ^ "Caribbean: Crossroads of the World at PAMM". www.mutualart.com. Retrieved 2019-03-27.

External links edit

  • Official Website
  • Intervention: Wall Street - Laura Anderson Barbata and the Brooklyn Jumbies

May 18, 2024
laura, anderson, barbata, born, 1958, contemporary, artist, based, brooklyn, mexico, city, barbata, work, uses, performance, encourage, social, justice, documenting, traditions, involving, communities, practice, born1958mexico, city, mexicomovementcontemporary. Laura Anderson Barbata born 1958 is a contemporary artist 1 Based in Brooklyn and Mexico City Barbata s work uses art and performance to encourage social justice by documenting traditions and involving communities in her practice 1 Laura Anderson BarbataBorn1958Mexico City MexicoMovementContemporary art Contents 1 Early life and education 2 Work 2 1 Transcommunality 2 2 Julia Pastrana 3 Selected exhibitions 3 1 Solo exhibitions performances 3 2 Selected group exhibitions 4 Selected awards grants and honors 5 References 6 External linksEarly life and education editLaura Anderson Barbata was born 1958 in Mexico City Mexico She moved to Sinaloa where her father was a restaurateur 2 and spent the early part of her childhood in Mazatlan with little or no access to museums 3 When she was 10 years old Barbata s family moved to Europe The first museum her parents took her to was the Louvre 3 Deeply impacted by the Winged Victory of Samothrace Barbata began to explore the world through drawing 3 She studied sculpture and engraving at the School of Visual Arts at the University of Rio de Janeiro and architecture in Mexico City 4 Work editAnderson has exhibited in the United States Mexico Europe and South America She is in the permanent collection and has shown at the Metropolitan Museum of Art New York NY The Museum of Modern Art Mexico City Mexico and the Museum of Modern Art Rio de Janeiro Brazil among others 4 Barbata has organized projects in the Amazon of Venezuela Trinidad and Tobago Mexico Norway and the USA 5 Among her current projects include The Repatriation of Julia Pastrana and her project Transcommunality ongoing since 2001 with traditional stilt dancers from New York West Africa the Caribbean and Oaxaca Mexico 5 Barbata s art is deeply entwined with social practice community engagement and postcolonial critique 6 For the Yanomami Paper Project Barbata worked as an apprentice to the Yanomami Community in the Amazonas region of Venezuela 7 In return she taught the community how to make books and paper from local resources 3 Barbata has continued to work with this community producing books in the Yanomami language with drawings by the community s children 3 The Yanomami community continues to make their own papers and books 3 Some of these books are now held in collections including the Library of Congress and the New York Public Library 8 Transcommunality edit In 2002 while working as an artist in residence in Trinidad and Tobago Barbata was introduced to the founder of the Keylemanjahro School of Arts and Culture in Port of Spain 9 The school hosted an after school stilt dancing program open to all kids intended to keep children out of trouble while also engaging them in the cultural tradition of stilt dancing to prepare for the annual NCBA Junior Carnival Parade 10 Barbata worked with Keylemanjahro for 5 years alongside the students and parents to create costumes for their performances The group worked with little to no resources and relied exclusively on the help of parents in the neighborhood The children had been creating their costumes by painting their bodies with toxic house paint Additionally students participated in carnival with the same presentation every year which excluded them from competing for character awards Barbata suggest that the children could develop and create their own costumes to learn about the environment and other cultures and worked with Keylemanjahro to discuss possible themes and design of characters for the kids to portray and compete 3 In 2007 Barbata returned to New York and continued her work with stilt dancing by collaborating with the Brooklyn Jumbies a group of stilt dancers from the West Indies and West Africa Together they hosted Jumbie Camp a workshop to train young stilt dancers and prepare for a street performance on 24th Street in Chelsea and later for the West Indian American Junior Carnival Parade 3 Barbata has continued to work with the Brooklyn Jumbies to extend outreach programs in different parts of the country particularly in communities or areas that are populated by Mexican descendants and African Americans They have staged multiple spontaneous interventions around New York City In 2011 Barbata and the Brooklyn Jumbies staged Intervention Wall Street in response to the economic crisis The performance took place in the financial district of New York The Moko Jumbies walked on stilts in business suits towards Wall Street while Barbata strolled and danced in front handing out gold covered chocolate coins The coins had the word Mexico on it Intervention Indigo took place in 2015 in Brooklyn New York in response to violence against African American communities The performance began at the Bushwick police precinct and ended in an area populated by artists The performers were dressed in indigo colored textiles inspired by the Danza de los Zancudos traditional stilt dancers from Zaachila from Oaxaca and the Dance of the Devils Danza de los diablos from the Afro Mexican coast of Guerrero 6 Julia Pastrana edit In 2003 Barbata learned about Julia Pastrana when she was invited to collaborate on designs for the New York premiere of the play The True History of the Tragic Life and the Triumphant Death of Julia Pastrana the Ugliest Woman in the World by Shaun Prendergast 11 Barbata felt deeply moved by Pastrana s story and drew a connection to her own childhood experience growing up in the same area of Mexico as Pastrana and dancing for money 12 Barbata s ultimate dream goal was that Pastrana should go back to Mexico and be buried 3 In 2005 during a residency in Oslo Barbata began petitioning the Institute of Forensic Medicine at the University of Oslo for Pastrana s repatriation In September she published an obituary for Pastrana in an Oslo newspaper that informed that there would be a catholic ceremony faith that Ms Pastrana practiced during her life Barbata organized the catholic mass in memory of Julia Pastrana in the Cathedral of Oslo The ceremony was attended by hundreds of people many of whom were circus performers who brought her flowers 13 Barbata sent documents making her case for Pastrana s release to Norway s National Committee for the Evaluation of Research on Human Remains Barbata also wrote letters to the National Research Ethics Committee for the Social Sciences and Humanities the Governor of Sinaloa in Mexico the Foreign Affairs Department of Mexico the University of Oslo journalists artists and anthropologists Many of these recipients became invested in the project 14 In 2012 Governor Mario Lopez Valdez of Sinaloa joined Barbata s cause and petitioned for Pastrana s repatriation Lopez Valdez sent a letter to the National Committee for Ethical Evaluation on Human Remains NESH to request for the repatriation of Julia Pastrana to her native state for burial His letter was accompanied by a letter by Barbata that included the moral ethical and social justifications for Pastrana s return to Mexico for burial 5 NESH responded to the repatriation petition with a document recommending that Julia Pastrana be repatriated to Mexico The University of Oslo and the Institute of Basic Medicine of the University of Oslo received NESH s recommendation a formal petition from Lopez Valdez s as well as a letter from Barbata herself The university accepted Julia Pastrana s repatriation to Mexico but with the conditions that she never be exhibited again that she be buried and not cremated and that she be given funeral services following her Catholic faith 15 On February 7 2013 Barbata confirmed the identity of Pastrana s body in Oslo before the coffin was sealed Ms Barbata and a University of Oxford forensic anthropologist Nicholas Marquez Grant noticed that Pastrana s feet still had bolts and metal rods that were used for exhibiting her body The bolts were removed and placed at the foot of her coffin 16 Pastrana s coffin was transported by plane from Oslo to Culiacan where she was welcomed with a military arrival The following day on February 12 the coffin of Julia Pastrana was transported from Culiacan to Sinaloa de Leyva She was welcomed with official ceremonies and a funeral mass then taken to the Municipal Cemetery following local traditions Julia Pastrana s coffin was covered in flowers and buried Pastrana was dressed in an indigenous huipil made by Francisca Palafox a master weaver from Oaxaca 11 and placed in her coffin with a photograph of her child on her chest Her tomb was covered in concrete and enclosed in walls that measure more than 1 meter in thickness to ensure that her tomb will never be vandalized and to guarantee that she will never be exposed again The tomb was then covered with thousands of flowers that had arrived from all over the world 5 Barbata s book The Eye of the Beholder Julia Pastrana s Long Journey Home brings together contributors from a wide variety of fields to explore Pastrana s story 16 Barbata has explored Pastrana s story through a variety of other mediums such as through performance work photography and stop motion animation 13 Selected exhibitions editSolo exhibitions performances edit Intervention Indigo Museo Textil de Oaxaca Oaxaca Mexico 2018 6 Intervention Ocean Blues Performance in collaboration with the Brooklyn Jumbies Isabella Stewart Gardner Museum Boston DUMBO Brooklyn New York Commissioned by Isabella Stewart Gardner Museum Boston and supported by No Longer Empty in Brooklyn NY 2018 17 18 19 Original is Never Finished Adidas film Shoot New York In collaboration with the Brooklyn Jumbies Director Monty Marsh 2018 3 The Eye of the Beholder A Performance Work in Progress Amphibian Stage Productions New Plays Development Residency Fort Worth Texas Director Tamilla Woodard Digital Design Katherine Freer 2018 20 Tiempo Local arte y activismos para una memoria fronteriza Laura Anderson Barbata La extraordinaria historia de Julia Pastrana Centro Cultural Espana Santiago de Chile 2018 3 Ocean Calling Performance in collaboration with Chris Walker the Brooklyn Jumbies and Jarana Beat United Nations Plaza New York Commissioned by TBA21 Academy Vienna 2017 21 22 Intervention Raphael Red Performance in collaboration with the Brooklyn Jumbies Isabella Stewart Gardner Museum Boston 2017 3 Ocean Blue s Performance in Collaboration with the Brooklyn Jumbies NTU Centre for Contemporary Art Singapore 2017 3 La Extraordinaria Historia de Julia Pastrana Performance Work in progress in collaboration with Fem Appeal Columbia College Chicago Rutgers University NJ 2017 3 What Lives Beneath TBA21 The Current Convening performance in collaboration with Amina Blackwood Meeks Chris Walker the Brooklyn Jumbies and the National Dance Company of Jamaica Kingston Jamaica 2016 12 3 Laura Anderson Barbata Collaborations Beyond Borders exhibition Mary H Dana Women Artists Series Galleries Rutgers University New Brunswick NJ 2016 3 Transcommunality Laura Anderson Barbata Collaboration Beyond Borders Cornell Fine Arts Museum Orlando Florida 2016 3 23 Helen Louise Textile Collection Gallery University of Wisconsin Madison 2016 3 BRIC Art House Brooklyn New York 2016 3 Centro de las Artes Monterrey NL 2016 3 Museo de la Ciudad de Mexico 2016 3 Museo Textil de Oaxaca Mexico 2016 3 Intervention Indigo public street performance in collaboration with Chris Walker the Brooklyn Jumbies and Jarana Beat Brooklyn New York 2015 3 Harlem Art Factory Festival public street performance in collaboration with the Brooklyn Jumbies Harlem New York La Repatriacion de Julia Pastrana exhibition Festival Internacional Cervantino Museo Iconografico del Quijote Guanajuato 2013 3 A Flower for Julia international call to send a flower to be placed on Julia s grave the day of her burial in Mexico Sinaloa de Leyva Mexico 2012 3 Intervention Wall Street public street performance in collaboration with the Brooklyn Jumbies Financial District New York Zancudos Zanqueros en Zaachila public street performance in collaboration with the Brooklyn Jumbies and los Zancudos de Zaachila Oaxaca Mexico 2011 3 Among Tender Roots exhibition Columbia College Chicago Center for Book and Paper Arts IL 2010 3 Jumbies Fort Worth performance and outreach program in collaboration with the Brooklyn Jumbies and Amphibian Stage Productions Fort Worth TX 2009 3 Jumbies performance and outreach program in collaboration with the Brooklyn Jumbies and Amphibian Stage Productions The Modern Art Museum of Fort Worth TX 2008 3 Selected group exhibitions edit Day of the Dead concert in collaboration with Apparatjik Concha Buika and Void Bergen International Music Festival Norway Ejercicios exploratorios II Creadoras contemporaneas en la coleccion MACG Museo Alvar y Carrillo Gil Mexico City 2016 24 25 The Quixotic Days and Errant Nights of the Knight Errant Don Quijote character design Amphibian Stage Production Fort Worth TX 26 Caribbean Crossroads of the World Perez Art Museum Miami FL El Museo del Barrio New York NY Queens Museum of Art Queens NY Studio Museum Harlem New York NY 2015 27 28 Social Paper Hand Papermaking in the Context of Socially Engaged Art Center for Book and Paper Arts Columbia College Chicago IL FOCO14 Festival de las Artes ARC Coquimbo Chile 59 2015 3 X Bienal Monterrey FEMSA Museo de Arte Contemporaneo Monterrey Mexico Invitational Twenty Jurors Woman Made Gallery Chicago Il Second Generation Columbia College Chicago Chicago Il 2012 3 Mujeres detras de la lente 100 anos de creacion fotografica en Mexico CECUT Tijuana Mexico 2011 3 AIO Art in the Open Philadelphia Schuylkill Banks Park Philadelphia PA Ciudadanas collaboration with the Museo de Mujeres Artistas Mexicanas Museo Universitario del Chopo Mexico City 2010 3 Hecho en casa Una aproximacion a las practicas objetuales en el arte mexicano contemporaneo Museo de Arte Moderno Mexico City The Muhheakantuk in Focus Wave Hill Bronx NY The Art of Personal Adornment Inez and Milton Shaver Gallery The Dahl Arts Center Rapid City SD 2009 3 Cardinal Points Puntos Cardinales A Survey of Contemporary Latino and Latin American Art from the Sprint Nextel Art Collection Itinerant exhibition USA 2007 2009 3 Selected awards grants and honors editMiembro del Sistema Nacional para Creadores Fondo Nacional para la Cultura y las Artes CONACULTA Mexico 2015 18 3 Artist in Residence Isabella Stewart Gardner Museum Boston MA 2016 3 Women in the Arts Award Celebrating the Genius of Women Orlando FL 2016 3 The Current Fellow Thyssen Bornemisza Contemporary Art Vienna Austria 2015 3 Honorary Fellow Latin American Caribbean and Iberian Studies LACIS University of Wisconsin Madison 2015 3 Arts Institute Interdisciplinary Artist in Residence University of Wisconsin Madison 2015 3 Segundo Concurso de Fotografia Contemporanea de Mexico Photography Award Fundacion Mexicana de Cine y Artes A C Mexico 2013 3 Selection Committee Visual Arts Grants Sistema Nacional de Creadores de Arte FONCA CONACULTA Mexico 2013 3 Advisory Board Museos Vivos Mexico 2013 3 Residency Interdisciplinary Arts Department and Columbia College Chicago Center for Book and Paper IL 2012 3 Advisory Council Artistic Dreams International New York NY 2011 3 Miembro del Sistema Nacional para Creadores Fondo Nacional para la Cultura y las Artes CONACULTA MX 2010 13 3 Robin Fund Residency Center for Book amp Paper Interdisciplinary Arts Dept Columbia College Chicago IL 2010 3 References edit a b Laura Anderson Barbata www gardnermuseum org Retrieved 2019 03 24 A remarkable 19th century woman gets a true champion in an interactive play about beauty star telegram Retrieved 2019 03 24 a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac ad ae af ag ah ai aj ak al am an ao ap aq ar as at au av LAURA ANDERSON BARBATA Collaborations Beyond Borders PDF Center for Women in the Arts and Humanities a b Laura Anderson Barbata Ruiz Healy Art Retrieved 2019 03 24 a b c d Laura Anderson Barbata Laura Anderson Barbata Retrieved 2019 03 25 a b c Terremoto Intervencion Indigo Terremoto 2019 01 25 Retrieved 2019 03 25 Laura Anderson Barbata talks about her work Coleccion Patricia Phelps de Cisneros 2019 01 31 Retrieved 2019 03 25 Laura Anderson Barbata ARTE AMAZONIA provides a global voice through art for the indigenous cultures of the Amazon Retrieved 2019 03 25 Cotter Holland 2007 09 07 Jumbie Camp Laura Anderson Barbata Art Review The New York Times ISSN 0362 4331 Retrieved 2019 03 25 Brooks Katherine 2014 08 11 Welcome To The Magical World Of International Stilt Walkers Huffington Post Retrieved 2019 03 25 a b An Artist Repatriates the Body of Julia Pastrana an Indigenous Mexican Woman Exhibited as a Freak Hyperallergic 2018 01 19 Retrieved 2019 03 25 Ugly truths Work in progress talk performance examines the life of Julia Pastrana Brooklyn Paper 11 February 2019 Retrieved 2019 03 25 a b Bibliography Artistic and Scholarly Production Julia Pastrana Online juliapastranaonline com Retrieved 2019 03 25 Wilson Charles 2013 02 11 Julia Pastrana Who Died in 1860 to Be Buried in Mexico The New York Times ISSN 0362 4331 Retrieved 2019 03 25 Julia Pastrana s Long Journey Home A Conversation With Laura Anderson Barbata The Order of the Good Death 2017 12 21 Retrieved 2019 03 25 a b The eye of the beholder Julia Pastrana s long journey home Anderson Laura 1958 Bondeson Jan Garland Thomson Rosemarie Kester Grant H Marquez Grant Nicholas 1976 Lovejoy Bess Seattle 2017 ISBN 9780692762189 OCLC 961003807 a href Template Cite book html title Template Cite book cite book a CS1 maint location missing publisher link CS1 maint others link Laura Anderson Barbata www gardnermuseum org Retrieved 2019 03 27 Artist brings indigenous rituals costumes and stilt walkers to contemporary urban environments WHYY Retrieved 2019 03 27 Web 2018 07 31 Isabella Stewart Gardner Museum celebrates final Neighborhood Night with block party featuring Brooklyn Jumbies August 9 Sampan org Retrieved 2019 03 27 A remarkable 19th century woman gets a true champion in an interactive play about beauty star telegram Retrieved 2019 03 27 Elias UN Photo Manuel 2017 06 08 Performance Piece Marking World Oceans Day United Nations Photo Retrieved 2019 03 27 Thyssen Bornemisza Art Contemporary TBA21 Press Release a href Template Cite web html title Template Cite web cite web a CS1 maint numeric names authors list link Transcommunality Laura Anderson Barbata Collaboration Beyond Borders www rollins edu 2016 Retrieved 2019 03 27 Day of the Dead magne f archive 20 May 2016 Retrieved 2019 03 27 Apparatjik to perform at Bergen International Festival in June a ha live Retrieved 2019 03 27 Liner Elaine 2015 07 14 Amphibian Stage s Quixotic Days Tilts at the Windmills of Your Mind Dallas Observer Retrieved 2019 03 27 Caribbean Crossroads of the World The New York Times 2015 08 23 ISSN 0362 4331 Retrieved 2019 03 27 Caribbean Crossroads of the World at PAMM www mutualart com Retrieved 2019 03 27 External links editOfficial Website Intervention Wall Street Laura Anderson Barbata and the Brooklyn Jumbies Retrieved from https en wikipedia org w index php title Laura Anderson Barbata amp oldid 1179837746, wikipedia, wiki, book, books, library,

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