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Recuperar la oscuridad para recuperarlo todo
Exhibition with Laura Campaz and Julieth Morales
Recuperar la oscuridad para recuperarlo todo 1 – Person in blauer Jacke betrachtet hängende schwarze Stoffbahnen mit gelben Illustrationen in einer Galerie mit weißen Wänden und sichtbarem Stahlträger.
© Promo
Recuperar la oscuridad para recuperarlo todo 2 – Grauer Sternenhintergrund mit schwarzem Kreis. Darum im Kreis steht: YOU KNOW NOTHING ABOUT US BECAUSE YOU CANNOT SEE IN THE DARK.
© Promo
Recuperar la oscuridad para recuperarlo todo 3 – Personengruppe mit auffälligen runden Hüten und dunkler Kleidung steht von hinten gesehen im Freien vor Bäumen.
© Promo
Recuperar la oscuridad para recuperarlo todo 4 – Luftaufnahme von Menschen mit Strohhüten auf Gras, die eine spiralförmige Formation bilden.
© Promo
In their joint exhibition “Recuperar la oscuridad para recuperarlo todo”, Laura Campaz and Julieth Morales present works exploring the body, memory and resistance. Campaz presents prints and paintings on fabric under the title “En la oscuridad, el negro se hace poder”. Morales shows the four-channel video work “Resistencia II” and the weaving “Zona Campana” from the series “Recuperar la memoria para recuperarlo todo”.
On Saturday, 31 October 2026, at 6 pm, as part of Embodied Practices, they join curator Jenny M. Díaz Muñoz and artist and performer Maque Pereyra to discuss their artistic and curatorial practices. Before the talk, Maque Pereyra's Embodied Practice Yoggaton: Transformative Pleasure will take place.
Laura Campaz“En la oscuridad, el negro se hace poder”
Working from an Afro-Colombian perspective, Laura Campaz explores Afro-diasporic memories and cultures. Drawing on Édouard Glissant’s concept of opacity, Campaz explores darkness as a space of refuge and resistance. It is a space where the visible fragments, contours dissolve, and the power of black emerges. Her work examines the tension between what is hidden and what is revealed, between opacity that preserves and transparency that exposes.
Opacity does not seek to be understood or translated. It demands respect for what is not fully shown. For queer identities, opacity is vital: it protects spaces of their own and resists categorization and normative expectations. It is a political and poetic gesture that affirms the right to exist without being completely unraveled.
The transparency of the fabrics used in photographs and collage creates poetic layers that interact with one another. This layering seeks depth, asking the gaze to move, reconstruct, and accept the impossibility of a totalizing view. Transparency multiplies possibilities, suggesting that identity, like the image, cannot be exhausted in a single layer.
Campaz challenges the negative connotations historically associated with black and darkness, reimagining them as symbols of strength, depth and resistance. Through this act of re-signification, black becomes an affirmation, a space where what has been misunderstood can find its place as a new form of light, black light.
Julieth Morales“Resistencia II”“Zona Campana”
In Julieth Morales’s artistic practice, rejection, pain and affect live on as memories that shape her return to the roots of her identity as an Indigenous Misak woman. Performance becomes a means of restoring her connection to the territory and to her community’s ancestral system of thought.
Her closeness to her mother, her aunts and her grandmother, and their conversations by the fire, have helped her recognise the need to transform certain traditions and ritual practices in order to overcome the oppression that has weighed on the women of her family for generations. Through the act of unweaving, Morales unties the knots of this inheritance and creates a new fabric through which other forms of existence can be woven.
What does it mean to be a Misak woman? How can the duality within her be brought into harmony? Both questions run through her work. Her body, understood through Mørøp, aship, isup, marøp (“listening, seeing, thinking, doing”), sustains a relationship with its surroundings. Ritual rhythms run through this connection and give meaning to existence.
Her embodied knowledge takes shape in weavings, videos, photographs, screen prints and installations produced in collaboration with other women, knowledge holders and ancestral spirits. Her relationship with the land is shaped by history and by the legacy of her ancestors’ struggles to reclaim the territory. For her, inhabiting the world and finding her place within it means returning again and again to the same questions and materialities, which serve both as an archive and as a means of exploration.
On Saturday, 31 October 2026, at 6 pm, as part of Embodied Practices, they join curator Jenny M. Díaz Muñoz and artist and performer Maque Pereyra to discuss their artistic and curatorial practices. Before the talk, Maque Pereyra's Embodied Practice Yoggaton: Transformative Pleasure will take place.
Laura Campaz“En la oscuridad, el negro se hace poder”
Working from an Afro-Colombian perspective, Laura Campaz explores Afro-diasporic memories and cultures. Drawing on Édouard Glissant’s concept of opacity, Campaz explores darkness as a space of refuge and resistance. It is a space where the visible fragments, contours dissolve, and the power of black emerges. Her work examines the tension between what is hidden and what is revealed, between opacity that preserves and transparency that exposes.
Opacity does not seek to be understood or translated. It demands respect for what is not fully shown. For queer identities, opacity is vital: it protects spaces of their own and resists categorization and normative expectations. It is a political and poetic gesture that affirms the right to exist without being completely unraveled.
The transparency of the fabrics used in photographs and collage creates poetic layers that interact with one another. This layering seeks depth, asking the gaze to move, reconstruct, and accept the impossibility of a totalizing view. Transparency multiplies possibilities, suggesting that identity, like the image, cannot be exhausted in a single layer.
Campaz challenges the negative connotations historically associated with black and darkness, reimagining them as symbols of strength, depth and resistance. Through this act of re-signification, black becomes an affirmation, a space where what has been misunderstood can find its place as a new form of light, black light.
Julieth Morales“Resistencia II”“Zona Campana”
In Julieth Morales’s artistic practice, rejection, pain and affect live on as memories that shape her return to the roots of her identity as an Indigenous Misak woman. Performance becomes a means of restoring her connection to the territory and to her community’s ancestral system of thought.
Her closeness to her mother, her aunts and her grandmother, and their conversations by the fire, have helped her recognise the need to transform certain traditions and ritual practices in order to overcome the oppression that has weighed on the women of her family for generations. Through the act of unweaving, Morales unties the knots of this inheritance and creates a new fabric through which other forms of existence can be woven.
What does it mean to be a Misak woman? How can the duality within her be brought into harmony? Both questions run through her work. Her body, understood through Mørøp, aship, isup, marøp (“listening, seeing, thinking, doing”), sustains a relationship with its surroundings. Ritual rhythms run through this connection and give meaning to existence.
Her embodied knowledge takes shape in weavings, videos, photographs, screen prints and installations produced in collaboration with other women, knowledge holders and ancestral spirits. Her relationship with the land is shaped by history and by the legacy of her ancestors’ struggles to reclaim the territory. For her, inhabiting the world and finding her place within it means returning again and again to the same questions and materialities, which serve both as an archive and as a means of exploration.
Artists/Collaborators: Laura Campaz, Julieth Morales (Künstler*innen)
“Recuperar la oscuridad para recuperarlo todo” is funded by the Radialstiftung and through the “Anbahnung” fund of the German Federal Cultural Foundation as part of the “WAYS – Fair and Sustainable International Partnerships” program.
October 31
3.30 – 5.30 p.m. Yoggaton: Transformative Pleasure
6.00 p.m. Embodied Practices – Talk on embodied knowledge
October 31
3.30 – 5.30 p.m. Yoggaton: Transformative Pleasure
6.00 p.m. Embodied Practices – Talk on embodied knowledge
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