09/28/2026
“Matter in Resistance” by Mari Claudia García
Presented by the Cuban Artists Fund & Residency Unlimited
Opening: Thursday, October 15, 2026 | 5:00 – 7:00pm
On view: October 15 – 16, 2026 | 11:00 am – 6:00 pm
Location: Residency Unlimited, 360 Court Street (main green church doors), Brooklyn, NY 11231
Please join us on the occasion of CAF/RU’s featured artist Mari Claudia García’s exhibition, featuring recently realized sculptural metal pieces from The Weight of Erasure series, exhibited for the first time. Among others, Mari Claudia will also present the participatory sound installation 11J or The Revolution That Never Happened (Second Iteration), offering an opportunity for live engagement with the audience through timed activations throughout the event.
Across sculpture, sound, installation, and material research, this locally based Cuban artist explores resistance as both a conceptual framework and an embodied condition. It is approached through processes of erasure, removal, and reconfiguration, in which material shifts become a way of thinking through change. Matter in states of tension—torn, ground, scratched, woven, molten—alongside processes of wear, fragmentation, and reorganization, extends an inquiry into historical, political, and affective conditions of pressure, while also suggesting ideas, actions, bodies, and forms that persist through such conditions.
Mari Claudia García is a U.S.-based multidisciplinary artist and educator working at the intersection of art and politics. Her practice is grounded in a socio-political exploration of communication and language as shaped by power dynamics and political structures. She is interested in tensions surrounding political correctness and “cancel culture.” In recent years, her research has focused on censorship and protest, examining their interrelations across both authoritarian regimes and democracies. García engages with archival material, elements of popular culture, and references drawn from public space, moving between abstraction and material rawness to transform these sources into signifiers within her work. She is particularly drawn to process-based methodologies, where making processes—including their performative dimension—are integral to her practice.
