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La Nueva Fábrica

This contemporary space, located in the Santa Ana village of La Antigua Guatemala, seeks to empower diverse communities through art and critical thinking. It develops exhibitions, public and educational programs, as well as residencies and multidisciplinary workshops. The initiative is made possible through the New Roots Foundation, created by artist Lissie Habie and photographer Mitchell Denburg.  

Plazuela Central de Santa Ana #55, Santa Ana Village, La Antigua Guatemala

Horario 
Wednesday to Sunday: 10 - 17 h

Saturdays: 10 - 18 h

Hours
Wednesday to sunday: 10 – 17 h

Saturday: 10 – 18 h

 

This contemporary space, located in the village of Santa Ana in Antigua Guatemala, aims to empower diverse communities through art and critical thinking. It holds exhibitions and public and educational programs, as well as multidisciplinary residencies and workshops. This initiative is made possible through the New Roots Foundation, created by artist Lissie Habie and photographer Mitchell Denburg.

About the artists at the venue

At La Nueva Fábrica, the artists dialogue with ‘The World Tree’ weaving a dialogue that addresses the contradictions of our present, while delving into myths that transcend geographical and historical boundaries.  

Deeply rooted in the Mayan cosmovisions, the installation of Ximena Garrido-Lecca conceives of ‘The World Tree’ as the axis mundi, a sacred conduit linking the earth, the underworld and the sky.  

Anchoring the tree in the human experience, the monumental cosmogony of Luz Lizarazo transits from mythical archetypes to narratives about the feminine condition, in resonance with Patricia Belli's fragmented bodily forms, which oscillate between material waste and emotional wounds.  

On the other hand, the work of Alevtina Kakhidze, rooted in her daily experience of the Ukrainian war, frames ‘The World Tree’ as a symbol of resilience and survival.  

Igor Grubić evokes participatory activism in a post-pandemic world, proposing ‘The World Tree’ as a symbol of militant ecology, both individually and collectively. 

Fusing Mayan mythology with extended reality technologies, Balam Soto extends this reverence to reimagine ‘The World Tree’ as a cosmological bridge that connects and activates the cybernetic and ancestral worlds. 

This crossover between tradition and innovation is also evident in the work of Zhang Xu Zhan, who explores Southeast Asian folklore, particularly in the context of Taiwanese ceremonial costumes. 

Carlos Martiel interjects ‘The World Tree’ as a space for mourning and collective responsibility, highlighting the symbolism of the tree as a representation of interconnected histories and common responsibilities.  

Collectively, these artists present a powerful narrative that elevates ‘The World Tree’ as a vital bridge between social, political, spiritual and cultural realms, uniting diverse stories and concerns into a collective vision of renewal and hopeful justice.

About the artists at this venue

At La Nueva Fábrica, artists engage with ‘The World Tree,’ weaving a dialogue that addresses the contradictions of our present, while also delving into myths that transcend geographical and historical boundaries.  

Deeply rooted in Mayan worldviews, Ximena Garrido-Lecca‘s installation envisions ‘The World Tree’ as the axis mundi-a sacred conduit linking the earth, the underworld, and the heavens.  

Grounding the tree in human experience, Luz Lizarazo‘s monumental cosmogony shifts from mythic archetypes to narratives of womanhood, echoing Patricia Belli's fragmented bodily forms, which oscillate between material waste and emotional wounds. 

On the other hand, Alevtina Kakhidze‘s work, rooted in her daily experience of Ukraine's war, frames ‘The World Tree’ as a symbol of resilience and survival. 

Igor Grubić evokes participatory activism in a post-pandemic world, positioning ‘The World Tree’ as a symbol of militant ecology, at both individual and collective levels. 

Merging Mayan mythology with extended reality technology, Balam Soto extends this reverence to reimagine ‘The World Tree’ as a cosmological bridge that short-circuits the cyber and ancestral realms. 

This interplay of tradition and innovation also recalls Zhang Xu Zhan‘s exploration of Southeast Asian folklore, particularly in the context of Taiwanese ceremonial costumes.  

Carlos Martiel reinterprets ‘The World Tree’ as a space for collective mourning and accountability, emphasizing the tree's symbolism of interconnected histories and shared responsibilities. 

Together, these artists present a powerful narrative that elevates ‘The World Tree’ as a vital bridge across social, political, spiritual, and cultural realms, uniting various histories and concerns in a collective vision of renewal and hopeful justice. 

 

Mapa de la sede