Ivonne González Núñez is a Cuban artist and lawyer based in Geneva.
A self-taught musician and performer, she has for several years been creating participatory performances, both solo and collective, that explore decoloniality and Negritude. These performances are a necessity, a dreamlike, political and artistic act that expresses itself without spatial limits, in a space where Negritude, in all its nuances and forms, has long been marginalised.
In 2018, González Núñez founded the Black Guiris Collective, with which she launched a series of performances in which the audience is invited to participate, sometimes becoming a guest performer, but also a targeted or unsettled spectator faced with mirrors, games of doubling and the situations proposed by the collective. Black Guiris made its debut at MACBA in 2018 and subsequently performed at various venues, including La Colonie in Paris, the HKW in Berlin (2019) and the Museum of Modern Art in Salvador de Bahia (2019). It was also during this period that a collaboration developed between the artist and the curator Kader Attia, with González Núñez appearing in several of his art films.
Between 2019 and 2022, she contributed to the New Alphabet School project at the Haus der Kulturen der Welt in Berlin, where she presented her performances, as well as co-creating the installation A Fugitive Library in 2022.
She subsequently founded the collective of migrant women artists from Abya Yala, éCRIS Rebeldes, in Geneva, alongside artists Carla Claro Rollano and Valeska Romero Curiqueo. Two productions were created: La Ch’alla and La Cartographie.
In 2024, González Núñez co-created the project Se relier aux héritages de l’esclavage with the artist Kalonji as part of the exhibition Genève, mémoire coloniale at the Geneva Museum of Ethnography.
Her musical projects focus on the repertoires of female composers from Abya Yala, the promotion of Afro-Cuban music, and the fusion of jazz with Afro-Latin rhythms.
Alongside her artistic practice, since 2018 she has led the Noircir Wikipédia [Blackening Wikipedia] project, aimed at addressing biases relating to African and Afro-descendant histories, figures and cultures.
Performances
- 2026. Ventos de paz, Ventos de Oyá. Expo Orixás. Museu de Arte Moderna da Bahia.
- 2025. Fleuvitude des Afromériques. Promenades LAC /Théâtre de Vidy. Lausanne.
- 2023. 1733. Projet Léman Architectures Connexions. LAC 23/26. Vaud..
- 2023. La Ch’alla. Collectif éCRIS Rebeldes. Cave 12. MEG . Genève.
- 2022 à 2025. Je marche sur les traces de Marronnes. Gallery Brulhart. Biennale Ouidah. Bénin. UNIGE. Festival Cubalandz, Bruxelles. MEG, Fête du Théâtre, Genève.
- 2022. Maroon Un-Archiving. #Commonings. Haus der Kulturen der Welt. Berlin
- 2022. Ritual March. #Commonings. Haus der Kulturen der Welt. Berlin
- 2019. Dudu Awon Keta. Festival Africa is in the Future. Bruxelles.
- 2019. Empretecendo Dostoevsky .Musée Palacete das Artes. Salvador da Bahia.
- 2019. Blackening Wikipedia ( Un) Learning Place. New Alphabet School Program. Haus der Kulturen der Welt. Berlin.
- 2018. Black Guiris. MACBA . Festival CineMigrante, Barcelone. La Colonie, Paris.
Residencies
- 2024. Résidences Nomades 23/26. Leukerbad.
- 2023. Ouidah Biennale. Benin.
- 2019–2022. Contributor. The New Alphabet School Project. HKW. Berlin.
Co-creation of exhibition installations
- Consultant and co-author of the public engagement installation: Se relier aux héritages de l’esclavage, dans le cadre de l’expo « Mémoires. Genève dans le monde colonial » MEG, Genève.
- 2022. A Fugitive Library. Installation for the #Commonings programme. HKW. Berlin.
Collaborations
- 2022. Role in the short film Reparation Day by Walter Solon. Berlin
- 2019. Appearance in the art film The Medium is the Message by Kader Attia. HKW. Berlin.
- 2018. Appearance in the art film Heroes heridos by Kader Attia. Joan Miró Foundation. Barcelona.
