MAHKU Amazon, b. 2013
Kapewe Pukenibu, 2024
Acrylic on canvas
114 x 151 cm
44 7/8 x 59 1/2 in
44 7/8 x 59 1/2 in
Kapewe Pukenibu Kapewe Pukenibu also known as, the myth of 'Kapewë Pukeni' (the myth of the alligator-bridge), takes us to the Huni Kuin's origin myth, about the separation between different...
Kapewe Pukenibu
Kapewe Pukenibu also known as, the myth of "Kapewë Pukeni" (the myth of the alligator-bridge), takes us to the Huni Kuin's origin myth, about the separation between different peoples and places. Also exhibited at the 60th International Art Exhibition of the Venice Biennale: "Stranieri Ovunque - Foreigners Everywhere", in a monumental mural painting by MAHKU (Movement of Huni Kuin Artists). The myth tells the story of the Huni Kuin people crossing two continents, in search of seeds, housing, knowledge and land. After a long walk, the people encounter an alligator who, in exchange for food, offers to help them cross to the other side. It's a fundamental scene that suggests that the Huni Kuin are both producers and products of bridges - between indigenous and non-indigenous worlds, between the visible and the invisible. “Kapewë Pukeni” thus becomes a central image in the strengthening of bonds between foreigners everywhere and the role of art as a means of resistance.
Kapewe Pukenibu also known as, the myth of "Kapewë Pukeni" (the myth of the alligator-bridge), takes us to the Huni Kuin's origin myth, about the separation between different peoples and places. Also exhibited at the 60th International Art Exhibition of the Venice Biennale: "Stranieri Ovunque - Foreigners Everywhere", in a monumental mural painting by MAHKU (Movement of Huni Kuin Artists). The myth tells the story of the Huni Kuin people crossing two continents, in search of seeds, housing, knowledge and land. After a long walk, the people encounter an alligator who, in exchange for food, offers to help them cross to the other side. It's a fundamental scene that suggests that the Huni Kuin are both producers and products of bridges - between indigenous and non-indigenous worlds, between the visible and the invisible. “Kapewë Pukeni” thus becomes a central image in the strengthening of bonds between foreigners everywhere and the role of art as a means of resistance.