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You are here: Home / LACE / 2020-Current Year / Online TALK | FIEBRE Ediciones, Kaqjay Moloj, and Beatriz Cortez

Online TALK | FIEBRE Ediciones, Kaqjay Moloj, and Beatriz Cortez

Presented in collaboration with SOMA México as part of “Miércoles de SOMA”
Online TALK | FIEBRE Ediciones, Kaqjay Moloj, and Beatriz Cortez
July 21,  6:30pm-8:30pm  Simultaneous interpretation Kaqchikel, English and Spanish

ENG:

ESP:

KAQ:

(ver español más abajo)

Kaqjay Moloj (Edgar Esquit, Ixmukané Choy and Edie Tocón), FIEBRE Ediciones (Carla Lamoyi and Antonio Medina), and Beatriz Cortez, moderated by LACE Chief Curator Daniela Lieja Quintanar, will talk about the collaborative project based on the Mayan Kaqchikel community idea of “Objeto antiguo” (Ancient object), its processes, results and critical thinking.

Objeto Antiguo explorations are on view at LACE as part of Intergalactix: against isolation/contra el aislamiento through August 14, 2021.
GHOST
Objeto antiguo (Ancient object) is a collective project by Kaqjay Moloj, Beatriz Cortez, and FIEBRE ediciones that imagines ancient objects as time machines that allow communities to form across time and space. Based on the idea that the lands that we, the Maya, inhabit are filled with fragments and objects that reveal themselves and are linked to men and women through their k’u’x, the force that bonds life across time and space.
GHOST
The fragments that are in don Toribio’s garden house, allowed themselves to be seen by his grandparents, his father, and mother, and later also by him, while he cultivated his lands. The Altar of Kaqjay –ru k’u’x ya’, ru k’u’x jäb, ru k’u’x palo’—and a tenon sculpture with a face emerging from its jaws, decided to reveal themselves to don Julián in his home’s backyard, in what is now the village of Cerritos Asunción. The tenon sculpture under the lemon tree at don Gabino’s house was placed in the same orientation as when they emerged: now he paints and bathes them to keep as decorations. The candle offerings in the altars created by ancient peoples, or in the cones that people create today with the ancient objects, keep the memory of the life of the beings that have inhabited the earth. These links with the long count calendar and with space are continuous. The kab’awil as protector of travels, the stone mushroom that accompanies the crop, the tenon sculpture as a signal of the path, are shown here as a living continuation of that long count calendar.
GHOST
We present these objects because they have the same importance as the tales of our grandparents, knowing that they have been nurtured by personal and collective spiritual needs. We gathered all this laying a giant body that follows the same path as migrants do, round trip, breaking borders, and jumping maps. This collective project was developed virtually and through distance during times of the pandemic.
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/ES/
Presentado en colaboración con SOMA México como parte de “Miércoles de SOMA”
CHARLA VIRTUAL | FIEBRE Ediciones, Kaqjay Moloj, and Beatriz Cortez
21 de julio, 6:30pm a 8:30pm
GHOST
Kaqjay Moloj (Edgar Esquit, Ixmukané Choy y Edie Tocón), FIEBRE Ediciones (Carla Lamoyi y Antonio Medina) y Beatriz Cortez, será moderada por la curadora en jefe de LACE Daniela Lieja Quintanar, hablarán sobre su proyecto colaborativo basado en la comunidad Maya Kaqchikel.
GHOST
Las exploraciones de “Objeto Antiguo” se pueden ver en Los Angeles Contemporary Exhibitions (LACE) como parte de la exposición “Intergalactix: against isolation/contra el aislamiento” hasta el 14 de agosto de 2021.
“Objeto antiguo” es un proyecto colectivo de Kaqjay Moloj, Beatriz Cortez, y FIEBRE ediciones que imagina los objetos antiguos como una especie de máquina del tiempo que permite formar comunidad con otros a través del tiempo y del espacio. Se basa en la idea de que los objetos antiguos que surgen de las tierras en que habitan los mayas se muestran y se vinculan a los hombres y mujeres a través del k’ux’, que es la fuerza que vincula la vida a través del tiempo y del espacio.
GHOST
Los fragmentos que están en el jardín de la casa de Don Toribio se dejaron ver ante sus abuelos, padre y madre, y más tarde también ante él, mientras cultivaba sus tierras. El Altar de Kaqjay –ru k’u’x ya’, ru k’u’x jäb, ru k’u’x palo’– y una espiga con un rostro emergiendo de las fauces, quisieron mostrarse ante don Julián en el mismo patrio de su casa en la actual aldea Cerritos Asunción. Las espigas bajo el limonero de la casa de don Gabino fueron colocadas de la misma manera en que se enseñaron; ahora las pinta y baña para mantenerlas como adornos. Las candelas ofrendadas en los altares creados por los antiguos, o en los que la gente crea actualmente con objetos antiguos, mantienen el recuerdo de la vida de los seres que habitan la tierra. Estos vínculos con el tiempo largo y con el espacio, son continuados. El kab’awil como protector del viaje, la espiga como señal del camino, los mostramos como continuación viva de ese tiempo largo.
GHOST
Presentamos estos objetos porque tienen la misma importancia que los relatos de nuestros abuelos, sabiendo que han sido alimentados por necesidades espirituales personales y colectivas. Conseguimos todo esto teniendo un cuerpo gigante que hace el mismo camino del migrante, de ida y de vuelta, rompiendo fronteras y saltando mapas. Este proyecto colectivo fue trabajado de forma virtual a través de la distancia durante tiempos de pandemia.
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Speaker Bios:
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Kaqjay Moloj
Kaqjay, as the Kaqchikel red house, evokes the need of gathering to build in community. We take action from within the arts and interdisciplinary research (archaeology, anthropology, and history), which as the threads of the long counts of time of our existence as Indigenous peoples, transgresses the cartographies and the chronologies of modern life. Kaqjay has undergone a long process of self-critique and constant redefinition. It began in 2006 with the formation of a Community Museum, having as its main objective to create dialogue around the memory and the history of Maya communities. The Kaqchikel Research Community was formed in 2016, and it generated epistemologically decolonial reflections and writings. Currently, it remains in constant collaboration with other local and international communities with which we share political and creative objectives.
/ES/
Kaqjay, como la casa roja de los kaqchikeles, evoca la necesidad de reunirnos para construir en comunidad. Accionamos desde el arte y la investigación interdisciplinaria (arqueológica, antropológica e histórica), que como los hilos en el tiempo largo de nuestra existencia como pueblos indígenas, transgrede las cartografías y cronologías de la vida moderna. Kaqjay ha pasado por un largo proceso de autocritica y redefinición constante. Inicia en el 2006 con la conformación de un Museo Comunitario, teniendo como principal objetivo crear diálogos en torno a la memoria y a la historia de las comunidades mayas. En el 2016 fue conformada la Comunidad Kaqchikel de Investigación desde la que se empezó a realizar reflexiones epistemológicas decoloniales y producir escritos en ese sentido. En la actualidad se mantiene una colaboración constante con otras comunidades locales e internacionales con quienes compartimos objetivos políticos y creativos.
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Beatriz Cortez
Is a Los Angeles-based artist and cultural critic. Her work explores the experience of migration, the concept of simultaneity, life in different temporalities and different versions of modernity, and the future. As a scholar, her research explores the construction of memory, cynicism, and posthuman imaginaries. She received an MFA in Art from CalArts and a Ph.D. in Literature and Cultural Studies from Arizona State University. Cortez is a professor of Central American and Transborder Studies at California State University, Northridge.
/ES/
Artista visual y crítica cultural salvadoreña radicada en Los Ángeles. Su obra artística explora la experiencia de migrar, el concepto de simultaneidad, la existencia en múltiples temporalidades y en diferentes versiones de la modernidad, y el futuro. Como crítica, investiga la construcción de la memoria, el cinismo, y los imaginarios posthumanos. Tiene una maestría en arte del Instituto de Arte de California y un doctorado en literatura latinoamericana y en estudios culturales de la Universidad Estatal de Arizona. Es catedrática de Estudios Centroamericanos y Transfronterizos en la Universidad Estatal de California en Northridge.
GHOST
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FIEBRE Ediciones
Is an artistic and independent publishing collective established in 2016 by the Mexican artists Antonio Medina (b. Coahuila, 1990) and Carla Lamoyi (b. Mexico City, 1990) whose objective is to research and disseminate Latin American and Caribbean creative practices produced starting the 1980s. Up until now, FIEBRE has published the following titles: Que no se calmen las Aguas: CADA (1981), ANCIEZ/EZLN (1992), GAC (2001), México, 2019; KAQJAY (2006-////), México, 2018; BESTIAS (1984-1987), México, 2017; and De fantasmas se cubre el polvo, Tegucigalpa, 2016. Since 2016, besides their publications, FIEBRE has developed different activities of pedagogical and expositive nature.
/ES/
Es un colectivo artístico y editorial independiente fundado en 2016 por los artistas mexicanos Antonio Medina (Coahuila, 1990) y Carla Lamoyi (Ciudad de México, 1990), cuyo objetivo es investigar y difundir las prácticas creativas realizadas en Latinoamérica y el Caribe a partir de la década de los ochenta. Hasta la fecha, FIEBRE ha publicado los siguientes títulos: Que no se calmen las Aguas: CADA (1981), ANCIEZ/EZLN (1992), GAC (2001), Ciudad de México, 2019; KAQJAY (2006-////), Ciudad de México, 2018; BESTIAS (1984-1987), Ciudad de México, 2017; y De fantasmas se cubre el polvo, Tegucigalpa, 2016. Desde 2016, a la par de sus publicaciones, FIEBRE ha desarrollado distintas actividades pedagógicas y expositivas.

 

Filed Under: 2020-Current Year, LACE Tagged With: 2021, Antonio Medina, Beatriz Cortez, Carla Lamoyi, Edgar Esquit, Edie Tocón, fiebre eddiciones, intergalactix, Intergalactix: against isolation/ contra el aislamiento, Ixmukané Choy, Kaqchikel, kaqjay moloj, objeto, objeto antiguo, SOMA, SOMA Mexico

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This Saturday, the LACE Screening Room presents, “Obsidian Reflections” from 2–5 PM at the Philosophical Research Society (@philosophical_research_society).

This film program is followed by a musical performance with multimedia NeoCumbia artist El Keamo (@el_keamo). El Keamo is the alias of Alfredo González-Martínez, a first-generation Mexican-American multimedia artist from Reseda, California. With an innovative blend of cumbia sonidera, tribal, house, and acid genres, El Keamo’s Neocumbia project is a modern interpretation of traditional Latin rhythms fused with electronic synthesis, creating a unique sound that is both familiar and boldly avant-garde.

This event is FREE and you can RSVP at the link in our bio!

Video courtesy El Keamo.
You can now watch all the performances from "ENDUR You can now watch all the performances from "ENDURANCE" on the LACE website as part of our digital archive! 

"ENDURANCE" presented performance art and interdisciplinary work by elder artists. These artists use their practices to share wisdom, knowledge, and experiences that they have gained throughout their lives. This series is a companion program to LACE’s 2024 performance series, "ABUNDANCE," both featuring often invisibilized bodies.

This program was held at L.A. Dance Project from May 16–17, 2025.

The online presentation of "ENDURANCE" is supported by the Department of Cultural Affairs, City of Los Angeles (@culture_la).

Photos by Angel Origgi (@angeloriggi)

Image Captions in order:
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Anna Homler, Jeff Schwartz, and David Javelosa, "VOE Variations" (2025)
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Juanita and Juan (Alice Bag and Kid Congo Powers) (2025)
Oguri, "Dance Emerges, Out of Time, with unforgettable ancestors and friends" (2025)
Gloria Enedina Álvarez accompanied by Greg Hernandez (2025)
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Slide 2 (left to right), LACE Team: Johnny Young, Ida Tongkumvong, Fiona Crary, Selene Preciado, Sarah Russin
Slide 3 (left to right), LACE Fellow & Getty Interns: Becca Choe, Camilla Caldwell, Jada Wong
On Saturday, August 2 from 2–7pm, join LACE for On Saturday, August 2 from 2–7pm, join LACE for this year's Artists’ Film International (AFI'25) at the Philosophical Research Society (@philosophical_research_society).

This touring film program is collectively curated and presented by 16 international arts organizations and convened by Forma (@formaartsmedia). AFI’25 introduces the work of talented moving image artists to worldwide audiences, and will be live over 300 days, with exhibitions, screenings and public programs hosted across 4 continents.

LACE’s selection for AFI’25 is "Leymusoom Garden: New Sun" (2024) by Heesoo Kwon (@leymusoom). Kwon’s oneiric visual language and unique animation style allow her to create memoryscapes of personal and community liberation. The film rewrites mythical matrilineal histories through utopian and whimsical abstractions of time, space, and memory to ultimately bring forth healing and transformation. 

Admission is free! RSVP at the link in our bio.

Image caption:
Still from Heesoo Kwon, Leymusoom Garden: New Sun, 2024. Courtesy the artist
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