In The Cure, Lozano writes about encounters and experiences that mediate the boundary between life and death, in order to think about healing as a way of deflating the conflicting relationships between nature and culture, the visible and the invisible, and the material and the sentient. Suspicious of the notion of myth, The Cure is an attempt to vindicate the power of negotiation to dispel such divisions. The structure of the séance, Mexican shamanism, Haitian Vodou, Irish criminal gangs and natural history museums are all implicated into Lozano’s text, developed during her extensive travels and investigations in recent years.
Catalina Lozano, born in Bogotá in 1979, is a Colombian curator and independent writer based in Mexico City. Analyzing colonial narratives and deconstructing the perceived progress of modernity have forcefully acted as departure points for many of her exhibition projects, such as ‘A machine desires instruction as a garden desires discipline’ at FRAC Lorraine, Metz, and MARCO, Museo de Arte Contemporáneo de Vigo in 2013–14, and ‘What cannot be used is forgotten’ at CAPC musée d’art contemporain de Bordeaux in 2015.