The building was inaugurated in 1778 as the property of Mariano Beltranena y Llanos, one of the signatories of the Guatemalan Declaration of Independence and a former interim president of the Federal Republic of Central America. During the 19th century, the enclosure served various purposes, including as a space where members of the aristocracy and political class gathered to celebrate the independence of the Guatemalan Republic. Years later, it became the headquarters of the first branch of Banco Reformador. Currently, the space hosts a variety of artistic and cultural activities.

About the artists at the venue

At Casa Ibargüen, ‘The World Tree’ embodies the intertwined narratives of history, identity, memory and resistance.  

Within this space, Elyla undertakes a profound journey to reconstruct an identity fragmented by centuries of silence between the Chontal communities of Nicaragua and Oaxaca, thus configuring a symbolic, ceremonial and political landscape where body, land and memory are intertwined.  

By creating an immersive aerial installation through the collective action of braiding maps, Sonia E. Barrett subverts traditional cartography to propose a new interconnected geography of human relationships, social ties and cultural exchanges.  

Drawing on their cultural heritage and personal experiences, Elyla and Barrett construct a captivating narrative of cultural reclamation, resistance and renewal. They critically reclaim and defend language, spirituality, and traditions that have been systematically repressed for centuries by colonialism and violence.   

Their works reflect the social, cultural, political and ecological dynamics of their identities in contemporary society, addressing the persistent impacts of new forms of colonialism and the restrictions imposed by gender binarisms.  

About the artists at this venue

At Casa Ibargüen, ‘The World Tree’ embodies the intertwining narratives of history, identity, memory, and resistance. 

Within this space, Elyla embarks on a profound journey to reconstruct an identity fragmented by centuries of silencing among Chontal communities in Nicaragua, Oaxaca, thereby configuring a symbolic, ceremonial, and political landscape where the body, the earth, and memory intertwine. 

Creating an immersive aerial installation through the collective action of braiding maps, Sonia E. Barrett subverts traditional cartography to propose a new interconnected geography of human relations, social bonds, and cultural exchanges. 

Drawing on their cultural lineage and personal experiences, Elyla and Barrett craft a compelling narrative of cultural reclamation, resistance, and renewal. They critically reclaim and defend language, spirituality, and traditions that have been systematically suppressed for centuries by colonialism and violence.  

 Their work reflects the social, cultural, political, and ecological dynamics of their identities within contemporary society, addressing the enduring impacts of new forms of colonialism and the limitations imposed by gender binaries.