Multimedia project
Painting, mixed media, sculpture, sonorous installations, installations
[Espai Angram 2018 / El Born 2014] 


In the project Festivity-Slaughter Natalia Carminati reviews the idea of ​​Hispanic from an old colony of the Spanish Empire. In the midst of the conflict between Catalonia and Spain, Se Picarán , Banderillarán y Serán Muertos, allows to examine what’s Spanish from two contexts as diverse as the Latin American and the Catalan. The opening coincides with the Spanish festivity celebrated every October 12th throughout the Spanish-American territory in memory of the Europeans’ arrival to American lands. Known as the Ethnic Festivity until 2008, this day is an example of how a neo-colonial discourse perpetuated unequal power relations.

In Festivity-Slaughter, Carminati appropriates the bullfighting world to reflect on neocolonialism, socio-cultural imposition and historical and current events from a critical, iconic and political perspective. This series of paintings creates a new vision on scenarios that show the fervor of festivity as a simulacrum of cultural slaughter. The piece Civilization, a Latin American edition of the Holy Bible “dressed” with a light suit, becomes a metaphor of the evangelizing mission that led to the slaughter of indigenous beliefs and cultures through cultural imposition.

by Gisela Chillida and Jordi Garrido


To the Indies, 2014
Sonorous installation,  audio: 0:40”
Wood, red paint, acrylic, metal handle, bull horn from Pamplona
119 x 124,5 x 9 cm



COLONization, 2013. Acrylic on canvas. 101,5 x 53,5 cm. Private Collection, Spain.




Festive Slaughter, 2013. Acrylic on canvas. 100 x 50,5 cm



Se Picarán, Banderillarán y Serán Muertos, 2018. Banderillas, political map of the world.



Se Picarán, Banderillarán y Serán Muertos, 2018. Banderillas from Pamplona, political map of the world.



Cuitláhuac, amidst many others, 2014. Acrylic on canvas. 124 x 62,5 cm



The Golden Age, 2014. Acrylic on canvas. 116 x 60 cm



Atahualpa’s Execution, 2013. Original poster by José Puente, acrylic. 88.5 x 46 cm



Civilization, 2014. Latin American edition of the Holy Bible, red wild silk, sequins and other haberdashery materials. 30 x 23 x 7,5 cm



Civilization, 2014. Detail of the installation



Gate to the Underworld, 2014. Wooden door, matte plastic ink-paint, original bullfighting posters, acrylic on canvas. 191 x 72,5 x 3,5 cm




Popol Vuh
Popol Vuh, 2014. Bullfighting posters, ink, watercolor and acrylic. 50 x 70 cm. Private Collection, Spain.





Dead Languages of America, 2014. Coffin: wood, dyes, varnish, handles. Interior of coffin: red velvet, wadding, wooden cross, gold paint, clay tongues (x 42). Cloak: red and yellow wild silk. 35 x 18.11 x 7.8 in




Dead Languages of America. View of the installation, Espai AnGram 2018




Dead Languages of America. Detail of the installation, Espai AnGram 2018


→ Related links:
Revista Mirall
Gisela Chillida
Jordi Garrido

→ Press:
Bonart, Natalia Carminati opens exhibition season at Espai AnGram by Gisela Chillida and Jordi Garrido
Interview with Andrés Hispano, Review of solo show Festivity-Slaughter
ACCA, A project about the (re)colonization of LatinAmerica by Daniel Gasol
masdearte.com, A project about the (re)colonization of LatinAmerica by Daniel Gasol