Beláxis Buil

Belaxis Buil, lives and works in Miami, Florida.

Education

MFA'19 Curatorial Practice, Studio Art, Art History, Anthropology & Academic/Field Research, Florida International University, Miami

BFA'07 in Sculpture, Dance & Minor in Art History, University of Florida, New World School of the Arts/University of Florida, Miami

Buil has worked extensively in her own artistic practice to investigate gender/identity based inequalities that affect our contemporary understanding of female identity. Her work has branched out to working with local and global communities needing to find solutions when facing displacement due to political turmoil (Saharawi community in Africa), working with underprivileged children in rural areas by providing educational exchanges that allow locals and foreigners to learn from one another via the arts(Colombia/Sin Fronteras), and support marginalized female communities (liberated territories of Morocco/Sahrawi refugee camps & Miami) by making their voices visible via storytelling, journalism and the visual arts on the online magazine: UNAFRAID. In 2010, Buil opened the exhibition Instruments of Torture curated by Amnesty International at the Freedom Tower, presented and curated a video selection of four artists in 2009 at the Miami Beach Cinematheque, Parts of a Room as the opening to Lars Von Trier and Alex Nahon’s screening,and was selected to work with the Miami City Ballet in 2019 as a resident choreographer in the community outreach program. Her artistic practice has extended to collaborating with other prestigious visual artists such as Jean-Pierre Kahzem in the Rubell Family Collection as the Live Mona Lisa, Vanessa Beecroft & Playboy during Art Basel Miami at the Standard, and perform in collaborative works with the artists Ahti-Ruga Patra and Kate Gilmore at the Bass Museum. Buil's works have also been exhibited in China during Art Shanghai, Arte Americas, Miami Beach, Florida, and at the Adrienne Arsht Center for the Performing Arts, Miami Light Project: Here & Now. In 2018, she was invited to speak at the United Nations in Tifairiti, Africa and in 2018- and in 2016 she received a People of Distinction Humanitarian award in Capitol Hill, Washington D.C..

Day 1: Mappings

Day I: a temporary migration of physical needs or corporeal language that allows the body to subjectively (and liberally) move throughout the space: which is otherwise restricted by the material disrupting the space, memory or histories that inhabit the shared space and inanimate architectural objects that police our every decision, our every move and every conversation shared within (public) collective spaces. As I step in and out of these public spaces, I realize that my gestures are a temporary, non-linear response that activates the spaces which exist between the materialized, architectural, regulations, codes of conduct, boundaries, edges, structures and physical bodies occupying the space which rightly belongs to the native land. All five senses (and the senses we fail to recognize beyond the ones discovered) are stimulated and organized in ways to help one better understand how to fit in the human ecology, institutions and politicized territories.

Day II: who am I (really) in these public spaces? Transitioning Identities: Migrating the domestic identity into the public sphere.

I left my home-

dressed up really well

On my way to the meeting I caught my reflection

My hair was a mess,

my jacket was falling off,

my sirt was untucked and my pants were sliding off my waist.

tick, tock

I have to race to get myself fixed-

it's my fix to get myself fixed.

It's a nervous tick to get my fix....

Recorded on IPhone

I fall.

I kepp falling.

I fall, I fall, I fall.

I keep falling.

I have no memory.

I have no task.

I weave in and out of reality-

your space

my space

Your space is now my space.

I know your sentiments,

your thoughts,

your world.

I am unceratin of where it can take me.

Regardless, I follow.

I fall

I fall..

I keep falling into your space.

There is no one around us but all are present.

It's rough,

it's cold,

it's hard.

it's now soft with your tender touch

your voice

your soul.

Day III:

I want to play.

I feel limited by the mandated demands of the institution.

I feel limited by the institution’s regulations, policies and surveillance imposed on my freedom, my identity, my behavior, my interactions and need to live my identity in a public space. Why don’t you shove your head up your ass, eat some candy, watch a movie, fart in public, talk to someone outside your (safe) culture, wear some clothes that contradict your sexual orientation and jump rope with a stranger. Go have some fun. Break some rules.

Leave me alone.

I run up and down the red brick lane with my friend, Amber. She shrugs me off her body.

She points the way to our escape. We finally escape. It's done. We are free.