'Soy Isla' showcases artwork by the prolific Cuban artist from the 1950s to the present.
The first time I experienced Zilia Sánchez’s artwork was in 2018, and I’m furious about it. Lot 250: El silencio de Eros rose off the stark wall as if animate with breath beneath the canvas “skin.” There, showing briefly in a Sotheby’s contemporary art auction, before transferring from one private collection to another, I saw her. Lines, distinct as sculpted marble, formed a whisper of the tragic mythological figure Antigone.
“It is my responsibility,” Tempkin continues, “to stop the phenomena of discovering artists in their nineties. We are overdue to celebrate these figures. But it is our responsibility to be providing support, especially to women artists, who have systematically and institutionally been neglected, and to start really embedding that in our practice of looking at their work, while they are younger, and helping them by creating platforms to support them in our institutions.
Under Tempkin’s curation, the Soy Isla retrospective diverted from the exhibition previously shown at The Phillips Collection in Washington D.C., and Museo de Arte de Ponce in Puerto Rico. Instead of presenting the work chronologically, El Museo presents a more thematic grouping of heroines and women warriors, tattoos, many moons, a self-portrait, and vitrines quietly showcasing poetry books Sánchez contributed illustrations and covers to in the 60s and 70s, one on Cosmic Feminist Poetry.
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