Image Above: From the series Precession of the Feminine (2015). UV printing on tempered glass. Work titles in the presented order: Simulation VIII―Revolutionary Reproductions, Precession of the Feminine.
Nicephora is a work that rustles, an echo chamber where we sense the footsteps and words of feminine presences murmuring their refusal to let themselves become trapped inside their own representations. Rising above the archetype of the female as a sexual object, a woman of strength, a romantic woman, they tell us that they have existed nonetheless: similar and different, rich, complex, alive. Listen to the reproduced images and you will hear the voices of an athletic champion, an ancient Greek heroine, an anonymous young Berber woman, a female television presenter. Moving amongst them is a masculine presence, that of Nicephore Niepce, the inventor of photography.
In an attempt to contain them all, the motif of the amphora returns, in image and in volume, linking Antiquity to our time. The amphora and its curves, container as well as screen, symbol of femininity and vehicle of narration: the amphora tells the story of the portrayal of women throughout history. The one who brings them together here in this dizzying conversation is Anglo-Mexican artist Alinka Echeverría. Born in 1981, winner of the 2015 BMW Residency at the Nicephore Niepce museum in Chalon-sur-Saone, France, a residency of which this work is the fruit, or rather the rhizome, so many are its ramifications and its persistent vivacity, only asking to develop further...Read the full article in the printed issue. Get OVER Journal 3