Much of the work is about the lives and experiences of participants in the Seasonal Agricultural Worker Program (SAWP), which brings thousands of workers from Mexico every year to work on Canadian farms. Fazakas Gallery wanted to examine an older series of photographs by Colín’s, La Sublevación de la Máscara – El Motín Iconoclasta (The Uprising of the Mask – The Iconoclastic Riots) in relationship to the work in Little México. This series of photographs responds to the resistance of the people in Latin America to maintain and preserve social traditions, local cultures, and, at the same time, the uprisings to sustain Latin American cultures and Indigenous Latin American roots alive. Political, cultural, and religious oppression over Indigenous cultures across Latin America generates alienation, isolation, and deterritorialization in the structure of societies and their local heritage and lands. These photographs recover the meaning to fight for local heritage, the possibilities to expand local cultural diversity, and to perpetuate social developments in Latin American. The uprising of the mask represents Latin American cultural insurrection. The iconoclastic riot symbolizes the struggle of society and the effort to forge new Latin American perspectives from the inside out.
Carlos Colín was born in Guadalajara, Mexico in 1980. He grew up in Mexico City and studied Visual Communication and Design from 2000-04. He earned his Master’s of Fine Arts at the National School of Fine Art in Mexico City in 2011. In 2013, Colín completed a second Master’s of Fine Arts at the University of British Columbia. Colín’s research investigates how contemporary art, artists, and art institutions are involved in current social movements and, by extension, how art contributes to social change and social activism in Latin America. As a Latin American artist, Colín brings perspectives on the discourse of how art evolves inside societies, how it finds expressions, how it changes over time, and the implications this has for Latin America.