Apr 27
Firelei Báez (Dominican-American) - Memory Like Fire (ink and gouache on handmade paper, 2015)
seen from Russia
seen from Malaysia
seen from United States
seen from Kyrgyzstan
seen from United States
seen from Malaysia
seen from Poland
seen from Malaysia
seen from Germany
seen from United States
seen from China
seen from China
seen from Ukraine
seen from United States
seen from Japan
seen from Japan
seen from China
seen from South Korea
seen from United States
seen from Tunisia
Firelei Báez (Dominican-American) - Memory Like Fire (ink and gouache on handmade paper, 2015)
Madeleine (Rupture rapture maroonage), Firelei Báez (2022, oil and acrylic on canvas, 113 x 78 in)
Firelei Báez (Dominican, 1981), Patterns of Resistance, 2015. Acrylic and Sennelier ink on Yupo paper, 30 x 24 in.
Firelei Báez
FEET SQUELCHING ON WET GRASS, NOURISHED BY UNCERTAINTY
12 MAY – 31 JULY 2026
Hauser & Wirth
542 West 22nd Street New York 10011
Tignon for Ayda Weddo (or that which a center can not hold), 1981, by Firelei Báez (Nasher Museum of Art at Duke University, Durham, NC: Museum purchase with additional funds provided by the Office of the Provost, Duke University)
In this painting, the serpent form references Ayda-Weddo, a spirit (loa) derived from Vodún traditions in Benin, West Africa, and brought by enslaved peoples to Haiti as Vodou and New Orleans as Voodoo. Ayda-Weddo forms a tignon, a head covering once worn by Creole women of African descent in Louisiana. Tignons resulted from a 1786 law that required Creole women of African descent to wear head coverings in public. As a form of resistance, Black women transformed their tignons into elaborately adorned fashion statements and vibrant markers of cultural pride.
Selected works of Firelei Báez (b. 1981, Dominican-American) as seen at an exhibition of her work at Boston's Institute of Contemporary Art. Her work explores colonialism, female power, folklore and myth, struggle and renewal. She often paints overtop historical source documents like maps and architectural plans. From top to bottom:
1. Tone tonal time (or an economy of care), 2024
2. Untitled (Terra Nova), 2020
3. Untitled (Temple of Time), 2020
4. Madeleine (rupture rapture maroonage), 2022
The Louisiana Museum of Modern Art, Humlebæk (Denmark), 01.03.24
Part 2/4 of the revival trip with some glimpses of what's inside of The Louisiana Museum. It was difficult to choose which pictures to post, everything is worth posting. In order :
One of the paintings from the Firelei Báez—Trust Memory over History exhibition. A vibrant and colorful artwork about colonial occupation and our contemporary societies.
Another painting from Firelei Báez—Trust Memory over History.
Spider couple by Louise Bourgeois in this breathtaking room with a large window overlooking on nature . Louise Bourgeois was a French-American sculptor, known among other things for her impressive sculptures of spiders, symbols of her mother and motherhood. Her work is inspired by her childhood and its traumas, especially "her love for her mother and her anger at her father", quotes the museum.
Same sculpture at another angle. This room of the museum is probably the most popular on social medias.
One of the minimalist hallway of the museum. So peaceful thanks to the large windows making you feel like you are part of the landscape.
Another perfect place but outside of the museum, if I'm not mistaken. I don't know the name of it, but I stayed there a long time, enjoying the moment in this light room.
That are some highlights but there are so much more to see. The museum is known for welcoming an important collection of Giacometti.
Firelei Báez, “Encyclopedia of gestures (Jeu du monde)” (2023)