1.0IL Postohttps://www.ilposto.cl/en/adminhttps://www.ilposto.cl/en/author/admin/rich600338<blockquote class="wp-embedded-content" data-secret="Uqck8iBNcA"><a href="https://www.ilposto.cl/en/colaborador/miguel-a-lopez/">Miguel A. López</a></blockquote><iframe sandbox="allow-scripts" security="restricted" src="https://www.ilposto.cl/en/colaborador/miguel-a-lopez/embed/#?secret=Uqck8iBNcA" width="600" height="338" title="“Miguel A. López” — IL Posto" data-secret="Uqck8iBNcA" frameborder="0" marginwidth="0" marginheight="0" scrolling="no" class="wp-embedded-content"></iframe><script type="text/javascript"> /* <![CDATA[ */ /*! This file is auto-generated */ !function(d,l){"use strict";l.querySelector&&d.addEventListener&&"undefined"!=typeof URL&&(d.wp=d.wp||{},d.wp.receiveEmbedMessage||(d.wp.receiveEmbedMessage=function(e){var t=e.data;if((t||t.secret||t.message||t.value)&&!/[^a-zA-Z0-9]/.test(t.secret)){for(var s,r,n,a=l.querySelectorAll('iframe[data-secret="'+t.secret+'"]'),o=l.querySelectorAll('blockquote[data-secret="'+t.secret+'"]'),c=new RegExp("^https?:$","i"),i=0;i<o.length;i++)o[i].style.display="none";for(i=0;i<a.length;i++)s=a[i],e.source===s.contentWindow&&(s.removeAttribute("style"),"height"===t.message?(1e3<(r=parseInt(t.value,10))?r=1e3:~~r<200&&(r=200),s.height=r):"link"===t.message&&(r=new URL(s.getAttribute("src")),n=new URL(t.value),c.test(n.protocol))&&n.host===r.host&&l.activeElement===s&&(d.top.location.href=t.value))}},d.addEventListener("message",d.wp.receiveEmbedMessage,!1),l.addEventListener("DOMContentLoaded",function(){for(var e,t,s=l.querySelectorAll("iframe.wp-embedded-content"),r=0;r<s.length;r++)(t=(e=s[r]).getAttribute("data-secret"))||(t=Math.random().toString(36).substring(2,12),e.src+="#?secret="+t,e.setAttribute("data-secret",t)),e.contentWindow.postMessage({message:"ready",secret:t},"*")},!1)))}(window,document); //# sourceURL=https://www.ilposto.cl/wp-includes/js/wp-embed.min.js /* ]]> */ </script> Miguel A. López (Lima, 1983) is a writer, researcher, and independent curator. Between 2015 and 2020, he worked as chief curator and then as co-director of TEOR/éTica, Costa Rica. His practice focuses primarily on collective processes, experimental art, feminist art, and themes of gender and sexuality as they relate to processes of political memory. He is the author of Robar la historia, Contrarrelatos y prácticas artísticas de opuesto (2017), Ficciones disidentes en la tierra de la misoginia (2019), among others. He curated the retrospective exhibition “Cecilia Vicuña: Ver el fracaso iluminado,” recently presented at the Banco de la República, Colombia.