“Vida Bohemia / Rossanaconda"9
is an installation that was part of the exhibition ‘Hysteriska Historiska’ in 2018, a solo show of sorts curated by Magdalena Blom from Gallery Majkens,
Marie Theresse Lugger, and myself. The name of the work ‘Vida Bohemia’ is from a song by the interpreter Flor Pucarina that for me/us voices the perspective of the Andean women, great-grandmothers, and mothers who migrated to the cities of the former colonies as a survival journey. The lyrics embrace an invitation to emotions and excess, that excess that is regarded with disdain by western values.
For this installation, I built a sculpture with a metal skeleton as a base, positioned as if it was dancing Huayno (a genre of Andean music and dance). I made the skin with delicate transparent fabric tinted with wax, blood, and hair. Blood of my blood. The sculpture wears a pink skirt that was given to me as a gift from my grandmother; I have taken this skirt to different celebrations in different locations. I installed four monitors surrounding the sculpture showing images of women, friends of mine with different backgrounds of migration, dancing together in different lands and contexts.
On the walls, there is a text poem that starts ‘I’m the savage, the otherness / I’m the savage, embodied complexity / I’m the savage you discover in her own lands / I’m savage you raped and kept as a slave’.
This installation was the starting point for formulating an embodied celebratory critique of the ideas of decency linked to the immigrant woman, focusing on the figure of the bad immigrant woman (La Migranta) who can’t prove a skötsamt liv. The dancing, festive Migranta is annoying to the system because her mere existence questions notions such as empowerment, economic improvement, integration, the emerging and the domestic.
As a migranta myself, I investigate and confront the ways in which these (neo-)colonials and misogynistic practices of states and institutions violate women's bodies, especially non-white bodies that do not account for the reproductive ideals of decency, femininity and motherhood of capitalism.
The name of the exhibition, Hysteriska Historiska, was a result of linking the term ‘Hysteria’ (Hyster = Uterus / ungovernable emotional excess) with ‘History’ (the study of the past as it is described in written documents). The project aimed to reflect on the different states and layers in which the ‘ungovernable’ was systematically oppressed, silenced, and erased.
Ironically – or redundantly – the exhibition was canceled just one day after the vernissage without further explanation.
For me, this action made the installation and overall project a present revision of what was sought to be erased in the past.
 Text about the exhibition by Macarena Dussant in Kultwatch, 2019 https://kultwatch.se/abf-stockholm-stangde-ned-utstallningen-hysteriska-historiska/
More about the installations: https://rossanaconda.com/2018/12/03/hysteriska-historiska-project-cancelled-and-censored-in-stockholm/