“In(de)finite? – Both. Lean back.”
(solo – retrospective)
Leopold Hoesh Museum (Duren, GE)
29 september 2024 – 12 january 2025

“Nothing seems impossible in the surreal, grotesque cosmos that Silvia Martes (*1985 in Eindhoven, NL) creates in her video works. The Peill scholarship holder sets her fragmentary plots, in which staging and reality, utopia and dystopia merge, in atmospherically composed settings. Her exhibition “In(de)finite? – Both. Lean back.” brings together a seemingly never-ending stream of images from her film sequences in an expansive installation whose cube-like architecture could have been taken from one of her films. With allusive narratives that quote various film genres and follow their own abysmal logic, she raises awareness of the absurdity of our seemingly rationally structured world.”

 
 

Heru ku Heru’
Kunstinstituut Melly (Rotterdam, NL) – My Oma  (group)
8 december 2023 — zondag 1 september 2024 

“Silvia Martes (@silviamartes) is an artist who often places characters and performers in surreal settings. Pseudo-fiction is an entry point for exploring autobiography, as much as broader stories in society. Martes likes being hands-on in every step of the filmmaking process; she builds the sets, takes charge of the camera, acts, directs, edits, and does the post-production herself. In her new work ‘Heru Ku Heru pt.1. (Iron With Iron pt.1.)’, Martes turns her lens to the travel routes taken by herself, her grandmother, and the rest of her family.

This video installation that is on view in the group exhibition ‘My Oma’ consists of real interviews with Dutch citizens of Caribbean heritage, which unfold in and alongside a fictional narrative set in a diner in Curaçao. Shifting between reality and fiction, between various worlds and two locations, Martes reflects on the experience of her ancestors, who emigrated from Curaçao to the Netherlands, as well as the lives of diaspora communities today. Troubling ideological and political dilemmas are portrayed in her work through her surreal display of conflicting stories. The use of photographs, voice-overs, and rapid cuts in the footage affirm that every story can only be understood through other stories, most of which remain untold or forgotten.”