Expressing Refusal Against Repressive Actions Requires Creative Expression
In Nicaragua, contemporary artists have been grappling with a tumultuous political landscape since 2018, particularly under the regime of Daniel Ortega. The initial spark was widespread protests against the government's policies,which led to a violent crackdown and an ongoing struggle for artistic expression and freedom.
Alejandro De La Guerra, a prominent Latin American artist, made headlines by recreating the equestrian monument of Anastasio Somoza and inviting the neighborhood to pull him down, a symbolic act mirroring the 1979 Sandinista revolution that ended the dictatorship. His installation, bought by the Fundación Ortiz Gurdián, served as a potent reminder of history repeating itself in this troubled country.
The artist community, especially the young and vibrant ones, stands at the forefront of this struggle. Fredman Baharana (30), for instance, uses his performances to challenge societal norms, blending indigenous and popular traditions with queer languages to critique sexual, class, and racial identities. Similarly, Miguel Diaz Rizo, through his alter ego, Lola Rizo, manipulates the drag queen register, replacing opulence with a ragged and poetic drag, aiming to destigmatize and react to the harsh reality. The overarching goal seems to be building new communities that thrive and challenge the status quo.
Patricia Belli (55), an animator of EspIRA, a renowned informal art training center in the capital, is well aware of the challenges. Since 2005, the association has tapped into international funds like the Foundation for Arts Initiatives or the Dutch Hivos, striving to support and nurture talent within the harsh economic and political climate.
The Fundación Ortiz Gurdián, a museum owned by one of the country's wealthiest families, opened in 2000, with six restored colonial houses connected, making it home to one of Latin America's largest collections. Alberto Torres, the director, recalls the ten editions of the Nicaraguan Biennale and Central American art, albeit the current crisis has put everything on hold. Despite the setbacks, Torres assures that the museum remains an open space for art and dialogue, even amidst the ongoing troubles.
One of the works on display by Alejandro De La Guerra, a large carousel, serves as another poignant reminder of Nicaragua's tragic saga. The rider repeatedly hits his head on a fixed pole, symbolizing yet another warning in the country's unending struggle.
Artists like Fredman Baharana and Miguel Diaz Rizo, using unconventional methods such as performance art and drag, are pushing against societal norms in the current political climate of Nicaragua and striving to build new communities that challenge the status quo. The Fundación Ortiz Gurdián, housing one of Latin America's largest art collections, continues to serve as an open space for art and dialogue, despite the ongoing political turmoil.
