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In many ways, Claudia Casarino (1974) has forwarded Olga Blinder and Josefina Plá’s enquiry into the history of women in Paraguay, a country that survived the XX century thanks to those remaining after the bloody War of the Triple Alliance (1864-1870) that wiped out an estimate of 90% of the male population excluding children. Their practices engage with the labour of women and how that has been articulated and historicised. Like Blinder, Casarino often inserts small details in her works that homage ñandutí, which becomes the symbol of female hardship, consolidating a bridge between contemporary art and craft. Casarino also activates a critique of this fine textile, which was promoted as a symbol of Paraguay during the military dictatorship of Alfredo Stroessner (1954-1989) as a means to homogenise the Paraguayan and indigenous citizens under a unifying effigy.
... read more
In many ways, Claudia Casarino (1974) has forwarded Olga Blinder and Josefina Plá’s enquiry into the history of women in Paraguay, a country that survived the XX century thanks to those remaining after the bloody War of the Triple Alliance (1864-1870) that wiped out an estimate of 90% of the male population excluding children. Their practices engage with the labour of women and how that has been articulated and historicised. Like Blinder, Casarino often inserts small details in her works that homage ñandutí, which becomes the symbol of female hardship, consolidating a bridge between contemporary art and craft. Casarino also activates a critique of this fine textile, which was promoted as a symbol of Paraguay during the military dictatorship of Alfredo Stroessner (1954-1989) as a means to homogenise the Paraguayan and indigenous citizens under a unifying effigy.
... read more