Pince à Nez (Low-cost racist practices)
The Caribbean is a place of encounters and transformations. None of the peoples living there today are indigenous to it in the strict sense. The history of the region is marked by forced displacements, the processes of colonisation, of resistance, and of métissage. From these intersecting trajectories emerge complex identities, formed from fragments of Africa, Europe, Indigenous America, and Asia. This reality, often described as “creolisation,” runs through the works of Kingsley and González Núñez. But these histories do not all benefit from the same visibility. Certain presences have been suppressed or forced into silence, such as the African heritage of the Caribbean. The artists brought together here work within this tension between visibility and erasure.
Ivonne González Núñez approaches these questions through writing, photography, and performance. Her practice often draws from intimate experience so as to speak to collective realities. She stages everyday situations, at times seemingly banal, which nevertheless reveal deeply rooted forms of racism.
Childhood occupies an important place in her practice. She shows how prejudice can be transmitted from a very early age, almost effortlessly, as though it were self-evident. Gestures, words, and looks become forms of aggression, sometimes imperceptible to those who produce them, but long-lasting for those who endure them. By rendering these situations visible, the artist invites us to recognise their impact and to question their normalisation.
performance and writing
