Iki Yos Piña Narváez & Jota Mombaça

Iki Yos Piña Narváez and Jota Mombaça

iki yos piña narváez. Afro-Caribbean, dias­poric trans non­bi­nary body. per­for­mance artist and a visual artist. A writer, too. part of the Ayllu Collective. It’s a col­lab­o­ra­tive research group engaged with polit­ical action. We are migrants and POC, QPOC. iki yos researching anti­colo­nial archives and Black rad­ical thought, too. they work about their own body, in con­nec­tion with the Black Caribbean. They inves­ti­gate issues related to the Black mem­o­ries in the Caribbean zone, as well as anti-colo­nial thoughts and prac­tices of the Black Caribbean. They have made draw­ings about black/brown bodies, cimarrón bodies from their own expe­ri­ence, and ances­tral enti­ties con­necting past time, pre­sent time, and future.

Recent works:
Museo Tamayo (México)
We don’t Choose this Future
Biennale Of Sydney (Ayllu Colective)

Jota Mombaça is an inter­dis­ci­plinary artist whose work derives from poetry, crit­ical theory and per­for­mance. The sonic and visual matter of words plays an impor­tant role in their prac­tice, which often relates to anti-colo­nial cri­tique and gender dis­obe­di­ence. Through per­for­mance, visionary fic­tion and sit­u­a­tional strate­gies of knowl­edge pro­duc­tion, they intend to rehearse the end of the world as we know it and the fig­u­ra­tion of what comes after we dis­lodge the Modern-Colonial sub­ject off its podium.

Recent works:
The Daughters of the Driest Rain // #NIRIN Biennale of Sydney 2020
Time Travel/Diaspora, Laboratory of Visionary Fiction // Nottingham Contemporary 2020
Can you sound like two thou­sand? // The Contemporary Journal 2020
La Leche Travesti with Iki Piña and Slim Soledad // Latitude on Air (Goethe Institut/Reboot FM) 2020
Transition & Apocalypse // The Present is Not Enough - HAU Berlin 2019

The project

As a duo, Narváez and Mombaça want to develop a pro­ject titled Black El Dorado. It is a research-based pro­ject focused on the delirium of El Dorado, rooted in the colo­nial thirst for extrac­tion (stands for the geo­log­ical dimen­sion of col­o­niza­tion) and on the incon­sis­ten­cies of these white regimes. Narváez and Mombaça are inter­ested in ways of reading colo­nial nar­ra­tives through its gaps. They want to learn through the rad­ical fugi­tivity of Piryte (Fool’s Gold), read as an anti­colo­nial tal­isman by both artists. Stemming from this interest, they want to inves­ti­gate the rela­tion­ship between the dis­place­ment of rocks and the dis­pos­ses­sive total­izing ges­tures of modern colo­nialism and enslave­ment.