Kekena Corvalán is a curator, professor, and feminist writer who has significantly impacted the contemporary art scene in Latin America. Her extensive work spans curatorial practices, academic contributions, and feminist discourse. She curated the two editions of the transfeminist collective exhibition #paratodestode. This groundbreaking project highlighted the intersection of feminism and art, presenting innovative works that challenge traditional norms. In 2018, she produced the critically acclaimed exhibition Sala Propia at the Museo Nacional de Bellas Artes in Neuquén. This exhibition thoroughly examined works by women artists and dissidents within the museum’s collection, offering a comprehensive and inclusive reading of their contributions to art history.
Corvalán is also known for devising and curating the seven editions of the Campamento Artístico Curatorial, an initiative that fosters creative and critical dialogues within the art community. Her written work includes significant publications such as Artistas Latinoamericanas, a survey of conceptual dialogues featuring artists like Wifredo Lam from Cuba, Historias de Cabeza Partida (Ediciones del Bien) Curaduría Afectiva (Cariño Ediciones), Curadurías del Fin del Mundo (Redtesoras), Epistemología Mechera (Cariño Ediciones) Testigos son los Cuervos, a la salud de los archivos (Elmismomar). These works explore various facets of curatorial practice, feminist theory, and representation politics, contributing to national and international academic and artistic dialogues.
The Unruled Column
As a contributor to Magazina, Kekena Corvalán brings a wealth of experience in cultural journalism, consistently seeking the sensitive power of specialized writing that art criticism seems to have lost today. Her work aligns closely with what she has published in other media and on her social networks, aiming to rekindle the desire to connect art and life through vital arts, speaking from a place of affect and affective curatorship. This approach distinguishes her from entrenched positions and relocates her within a political intersection transcending traditional, whiteness, and masculinized thought.
Her work is neither transdisciplinary nor interdisciplinary; it embodies a communal way of inhabiting the world. Her writing functions as a critical apparatus—lucid and sensitive. It serves as a territory of desire where she intertwines with others, writing and desiring in an undisciplined manner.
The Unruled Column explores visual arts, cinema, performing arts, live arts, music, and poetry without imposing any closure. Its vibrant words respond to the overwhelming array of “correct” works that characterize contemporary art today.
