Réplica | CP12 | Reparación

Daniela Ortiz

On each October 12 from 2012 and 2019, the artist and antiracist activist Daniela Ortiz carried out a series of actions. Set on the date of the so-called “discovery” of America, which Spain marks to celebrate its National Day, the actions reveal the imperial substrate of Spanish identity and promote counternarratives that make visible the silenced experience of the colonized peoples. This selection of videos brings together three actions carried out in the city of Barcelona. CP12, realized in collaboration with Xose Quiroga, consists of a detailed visual journey that stresses the racist ideology epitomized by the Columbus monument located in the Plaza Colón. In addition to Columbus, the monument commemorates two Catalan figures who actively participated in the colonial process, the priest Bernardo de Boyl and the soldier Pere de Margarit, who are represented next to an Indigenous man kneeling in a sign of submission. Réplica is set in Plaza Cataluña, one of the main public spaces where the National Day is celebrated. Carrying a photograph of the anonymous Indigenous man kneeling under priest Bernardo de Boyl, Ortiz kneels in front of passersby, tries to explain that the Columbus monument reifies racism, and receives some irritated and even violent reactions. In Reparación, Ortiz reads fragments of El primer nueva crónica y buen gobierno (1615), a manuscript by the Indigenous chronicler Guamán Poma de Ayala, that denounces the abuses committed by the Spanish colonizers. Immediately after the performance, the facsimile was transferred from the University of Barcelona library to a cultural space managed by migrants and racialized people.All three actions were recorded on video to be shared by the artist on social media, through which she has consistently given space to forms of anticolonial dissent beyond the art world.

Through her work Daniela Ortiz (Cusco, Peru -1985) aims to generate visual narratives in which the concepts of nationality, racialization, social class and gender are explored in order to critically understand structures of colonial, patriarchal and capitalist power. Her recent projects and research deal with the European migratory control system, its links to colonialism and the legal structure created by European institutions in order to inflict violence towards racialized and migrant communities. She has also developed projects about the Peruvian upper class and its exploitative relationship with domestic workers. Recently her artistic practice has turned back into visual and manual work, developing art pieces in ceramic, collage and in formats such as children books in order to take distance from eurocentric conceptual art aesthetics. Together with her artistic practice she is the mother of a 2 year old, gives talks, workshops, does investigation and participates in discussions on Europe’s migratory control system and its ties to coloniality in different contexts. Daniela lives and works in Barcelona.

Florencia Portocarrero (Lima, 1981) writes, lectures, teaches, and organizes both exhibitions and public programs. Her research interests are focused on how to rewrite art history from a feminist perspective, regimes of subjectivation in the context of neoliberal globalization, and the questioning of hegemonic formsof knowledge. Between 2008 and 2010, she completed a master’s degree in Theoretical Studies in Psychoanalysis at the Pontifical Catholic University of Peru. Later, from 2012 to 2013, Portocarrero participated in the Curatorial Program of the Appel Arts Center in Amsterdam, and in 2015 she completed a second master’s degree in Contemporary Art Theory at Goldsmiths University in London. She has participated in several international conferences and her writings on art and culture appear regularly in specialized magazines such as Atlántica Journal, Artishock, and Terremoto. In 2017/2018 Portocarrero received the Curating Connections scholarship, awarded by the DAAD Artists-in-Berlin Program and the KfW Stiftung. In Lima, she worked as a Public Program Curator at Proyecto AMIL (2015-2019) and is a Co-founder of Bisagra.

Notes for Tomorrow is a traveling exhibition organized and produced by Independent Curators International (ICI) and initiated by Frances Wu Giarratano, Jordan Jones, Becky Nahom, Renaud Proch, and Monica Terrero. The exhibition was made possible with the generous support of the Andy Warhol Foundation for the Visual Arts, VIA Art Fund and ICI’s Board of Trustees and International Forum.

We are on Treaty 1 Territory. Plug In ICA is located on the territories of the Anishinaabeg, Cree, Oji-Cree, Dakota, and Dene peoples, and the homeland of the Métis Nation. Our water is sourced from Shoal Lake 40 First Nation.

Plug In ICA extends our heartfelt gratitude to our generous donors, valued members, and dedicated volunteers. We acknowledge the sustaining support of our Director’s Circle. You all make a difference.

We gratefully acknowledge the support of the Canada Council, the Manitoba Arts Council and Winnipeg Arts Council. We could not operate without their continued financial investment and lobbying efforts.

Plug In ICA relies on community support to remain free and accessible to all, and enable us to continue to present excellent programs. Please consider becoming a member of Plug In ICA and a donor at or by contacting Erin at

For more information on public programming and exhibitions contact Allison Yearwood at

For general information, please contact: or call 1.204.942.1043