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Statement

My art is rooted in the land that shaped me, and the stories it continuously tells.

I claim the body as a space for narratives that defy categorization, that grow in the peripheries. I seek the animistic territories stored in the underground layers of the skin, while also building a social practice that centers storytelling and story keeping.

I see the body as a vessel for the most primal creative force, and I know the necessity to dream inter-species and co-create with the earth.

I am interested in the performative maps that the body stores, specifically in connection to ancestral technologies, ecology, sound and resilience, which I explore through a variety of mediums such as photography, performance, ceramics and sound objects.

When I contemplate on the earth, I travel to the past and future simultaneously, and this act of contemplation, ignites my spirit.

 

 

 

Current practice:

Grounded in Indigenous ontologies, Latinx anthropology and Nepantla; I seek to understand the sonic and oral traditions that have populated the Americas for millenia  as a way to repair, reclaim and reimagine temporalities of healing, tell stories across time/space and the body. I also gaze at the night sky, the way my ancestors did, to inquire about how to make sense of the world and ultimately connect with them and their stubborn capacity to survive in us.

The arrival of Europeans, disrupted the instruction of many teachings and rites of passages, whole rituals lost in time, yet this knowledge never ceases to exist. By reclaiming we remember, by remembering we heal. Through research and contemplation on pre-Columbian instruments, I develop site-specific sonic sculptures incorporating faunae iconographies and Andean astronomy. I am interested in how the past and future coalesces in a simultaneous dimension time/space/being that is in constant communication and tension with the present. 

I imagine how sounds and potential rituals can retore a subjective-geographic relation to living systems and engage with intersectional technologies that can dismantle imperialism and ecological degradation in order to tend to the earth and heal mutually.

We must remember everything, especially those things we never knew.

 

 

 

In the tradition my name is Koyoltzintli, Adorned With Rattles. This name was given to me in my early 20's when I began to apprentice in ceremonial healing and plant medicine. The passing of my most cherished teacher, friend, elder, comrade was my call to action to bring this name forth as I walk with her as one now. 

 

ABOUT:

Koyoltzintli Miranda-Rivadeneira, is an interdisciplinary artist, a healer and educator living in New York. She grew up on the coast of Ecuador and the Andes, geographies that permeate in her work. She focuses on geopoetics, ancestral technologies, ritual and storytelling through collaborative processes and personal narratives. Intersectional theories, and earth-based healing informs her practice. Nominated for Prix Pictet in 2019, her work has been exhibited in the National Portrait Gallery in Washington, DC, the United Nations, Aperture Foundation in NYC, and Paris Photo, among others. She has been an artist in residence in the US, France, and Italy and has taught at CalArts, SVA, ICP, and CUNY. Rivadeneira has received multiple awards and fellowships including the Photographic Fellowship at the Musée du Quai Branly in Paris, NYFA Fellowship, and the IA grant by the Queens Council of the Arts. Her first monograph Other Stories was published in 2017 by Autograph ABP, her work was featured in the Native issue of Aperture Magazine (no. 240). in 2021, her work was included in the book Latinx Photography in the United States by Elizabeth Ferrer chief curator at BRIC.

Send me an email if you want to be on my mailing list and for any other inquiries.

Drop a line, share your thoughts.

me@koyoltzintli.com

When [in the world] one sees nothing else, 

hears nothing else, recognizes nothing else:

that is [participation] in the infinite. 

But when one sees, hears and recognizes only otherness:

that is smallness. the infinite is immortal, that which is small is mortal.

But Sir, that infinite, upon what is it established?

Upon its own greatness -- or rather, not upon greatness.

for by greatness people understand cows and horses, elephants, gold, slaves, wives, estates.

that is not what I mean; not that. For in that context everything is established on something else.

This infinite of which I speak is below. It is above. It is to the east, to the west, to the south and to the north.

It is in fact, this whole world.

And accordingly, with respect to the notion of ego:

I also am below, above, to the east, to the west, to the south and to the north. I, also am this whole world.

-Chhandogya Upanishad