“RUSCHWOMAN’s second chapter comprises the reenactments, recuperations, confabulations, and liberatory interventions to be found in the practices of Ále Campos, Marylu E. Herrera, and Alayna N. Pernell. These three artists entangle themselves in the partiality of archives, be they personal, cultural, or institutional. Questioning the violence and loss bound into the project of history building, they develop an array of tools for memory work as a form of repair. In the counter narratives they produce, shifts in power around point of view in storytelling—particularly the dignity assigned to being empowered to speak for oneself—are variously celebrated and mourned. Self-possessed fugitivity is here understood as an affront to systems of control, and yet at RUSCHWOMAN there are sightings of a discrepant She (angelic radio wave visitations, emancipated women, maligned goddesses, Celeste, anonymous untold stories) who approaches and withdraws of her own volition.”

-Matt Morris, Curator