Convulsiones Planetarias / Planetary Convulsions
Convulsiones Planetarias / Planetary Convulsions is the first U.S. solo institutional exhibition by Mexico City and Oaxaca-based artist Naomi Rinc贸n Gallardo. The show brings together two video works from the KADIST collection, Resiliencia Tlacuache / Opossum Resilience (2019) and Filiaci贸n abono / Dung Kinship (2024), alongside Soneto de Alima帽as / Sonnet of Vermin (2022), where survival, transmutation, and subversive kinship unfold through speculative sci-fi, Mesoamerican mythologies, and cuir resilience. The works embrace decomposition as a generative force鈥攚hat is discarded or cast aside is metabolized into something new. Like compost, where fungi, insects, and bacteria transform waste into fertile ground, the films reclaim abject materials, hybridizing histories, myths, and discarded fragments into insurgent dream worlds.
Through humor, grotesque poetics, and raw materiality, Rinc贸n Gallardo envisions a politics of solidarity and renewal. The works imagine resistance born from the underworld, from the margins, where survival is an act of transformation, and where entangled bodies, human and nonhuman, form networks of support. Rejecting conceptual detachment in favor of visceral connection, the films unsettle the viewer while making space for collective re-imagination.
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Convulsiones Planetarias / Planetary Convulsions is the first U.S. solo institutional exhibition by Mexico City and Oaxaca-based artist Naomi Rinc贸n Gallardo. The show brings together two video works from the KADIST collection, Resiliencia Tlacuache / Opossum Resilience (2019) and Filiaci贸n abono / Dung Kinship (2024), alongside Soneto de Alima帽as / Sonnet of Vermin (2022), where survival, transmutation, and subversive kinship unfold through speculative sci-fi, Mesoamerican mythologies, and cuir resilience. The works embrace decomposition as a generative force鈥攚hat is discarded or cast aside is metabolized into something new. Like compost, where fungi, insects, and bacteria transform waste into fertile ground, the films reclaim abject materials, hybridizing histories, myths, and discarded fragments into insurgent dream worlds.
Through humor, grotesque poetics, and raw materiality, Rinc贸n Gallardo envisions a politics of solidarity and renewal. The works imagine resistance born from the underworld, from the margins, where survival is an act of transformation, and where entangled bodies, human and nonhuman, form networks of support. Rejecting conceptual detachment in favor of visceral connection, the films unsettle the viewer while making space for collective re-imagination.
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