Mayami Son Machín is an exhibition which aims to explore common preconceptions about Latin American identity as seen through a fantasized place called Mayami, a city cloaked in a mystic haze of glory and glamour. The title of the exhibition is derived from The Miami Sound Machine, a 90’s era music group, which epitomized the notion of what it means to be latino living in Miami.
Maymi Son Machín departs from three principal notions;
1. “Mayami” as a referent and final destination of Latin American aspirations; both in terms of those who experience it via forced migration (economic, political, etc.) and those individuals for whom Miami becomes a Mecca of shopping and glamour.
2. “El Son” referencing the intrinsic rhythm of certain Latin American countries, music in general as the identifying characteristic of Latino cultures, along with the dances formed alongside these rhythms and their relationship to a sexual identity as characterized by a Latin American exoticism.
3. “Machîn” derived from “macho” which encompasses those works that construct and destroy the idea of the Latin American male, both in terms of an overly inflated notion of masculinity, alongside a stereotypical and caricature-like notion of female identity.
This exhibition was organized by Proyectos Ultravioleta, an artist run exhibition space located in downtown Guatemala City. The organizers were introduced to the gallery via New Methods, a symposium presented at The Museum of Contemporary Art, North Miami, organized by Ruba Katrib
Abner Benaim, Juan Brenner, Bhakti Baxter, Buró de Intervenciones Públicas (BIP), Alfredo Ceibal, DETEXT, Juan Pablo Echeverri, Radamés “Juni” Figueroa, Hulda Guzmán, Jonathan Harker, Rita Indiana & Los Misterios + Noelia Quintero, Byron Mármol, Sofia Novella, Yoshua Okón, Fabi Pina, Naufus Ramirez-Figueroa, Carla Verea/Estudio Lake Verea in collaboration with Silverio, Carlos Woods .