UCSC events open to the public

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Enjoy a screening of the video-performance Under the Mantle of an Idocile Dream (Bruna Castro, Brasil, 2026), followed by a conversation between Denise Carrascosa and Gina Dent around the historical, political and spiritual relations between Afro-Brazilian ancestrality, visual arts and abolition feminism in Brazil. Denise Carrascosa is a writer, lawyer, and full professor of literature at the Federal University of Bahia, in Brasil. Gina Dent (Ph.D., English & Comparative Literature, Columbia University) is Professor of Humanities and Faculty Director of the Institute of the Arts & Sciences at the University of California, Santa Cruz.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

A winter holiday celebration of Irish Music, Dance, Song, and Storytelling. A Celtic Christmas is now in it's 31st year touring nationally!

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.