In the dimly lit halls of the Americas Society in New York City, an exhibition titled “El Dorado: Myths of Gold” is a poignant exploration of Latin America’s tumultuous history with extraction and colonization. At the heart of this collection lies Colombian artist Carlos Motta’s haunting video, “Nefandus,” which narrates the brutal atrocities inflicted upon indigenous peoples by Spanish conquerors, set against the backdrop of Colombia’s Don Diego River.
Motta’s work epitomizes the exhibition’s core theme – the intersection of colonial violence, the passage of time, and the enduring allure of El Dorado, the mythical city of gold. According to co-curator Edward Sullivan, the myth of El Dorado served as a catalyst for the exploitation and plunder of the Americas, fostering a narrative of utopia and conquest.
With over 100 objects and artworks from 60 artists, “El Dorado: Myths of Gold” delves into the consequences of this myth, tracing its impact from the 16th century to the present day. The exhibition not only examines historical accounts but also confronts the ongoing legacy of extraction in Latin America.
The origins of the El Dorado myth can be traced back to Spanish encounters with the Tayrona people in Colombia, where the allure of gold sparked centuries of exploitation. This pursuit of precious metals drove Spanish colonization and laid the groundwork for modern-day extractivism, from oil in Venezuela to lithium in Chile and Argentina.
One striking exhibit, “Moscas (Flies),” by Bolivian artist Andrés Bedoya, metaphorically portrays the plague of silver extraction in Bolivia. The Cerro Rico mines of Potosí serve as a grim reminder of the human cost of extraction, where millions of indigenous and African miners perished to enrich European powers.
While El Dorado may have been a fabled city, its legacy endures in the form of environmental degradation, displacement of indigenous communities, and socioeconomic disparities. Artists like Nancy La Rosa and Esperanza Mayobre confront this reality head-on, shedding light on the ongoing struggles in Peru and Venezuela.
La Rosa’s “Mirages (Espejismos)” series exposes the impact of gold extraction on communities in the Peruvian Amazon, while Mayobre’s sculptures honour indigenous peoples affected by gold mining in Venezuela. These artworks serve as a poignant reminder of the human and environmental toll of extractivism.
As Latin America grapples with the resurgence of extractive industries, the exhibition’s relevance remains undeniable. Recent legal battles, such as the Guatemalan Indigenous Mayan community’s fight against a nickel mine and Ecuadorian communities’ victory against a gold mine, underscore the ongoing struggle for environmental justice.
In the words of co-curator Aimé Iglesias Lukin, the exhibition offers an opportunity to “denaturalize” the significance of gold and explore its cultural and historical implications. Through art, the legacy of El Dorado is unmasked, revealing a complex narrative of exploitation, resistance, and resilience in Latin America.
