Glamour, to me, is a vernacular exchange of tenderness and disobedience — those soft choreographies that forge alliances capable of surviving beyond the verticality of power. It is about tilting, disorienting our axis, and discovering new horizons through imbalance.
Glamour does not feed on collapse; it enacts an exodus from the bondage inherent in any system. It is a gesture of liberation — one that helps us soften the cracks.
It is not possession but the transmission of borrowed sunlight, refracted through another body, illuminating the smallest gestures. And yet, I still wonder: are violence and tenderness cut with the same pair of scissors?
— Bárbara Sánchez-Kane
Bárbara Sánchez-Kane, look 3, 2023, performance by Maria Metsalu in “Trigger,” Contemporary Art Museum of Estonia (EKKM), 2024, courtesy of kurimanzutto and EKKM, photo Aron Urb
Bárbara Sánchez-Kane, “coro de soles menores” (chorus of the minor suns), 2025, performance by li bing at Cheruby, Shanghai, copyright and courtesy of Cheruby, photo Lanxin Zhao
Bárbara Sánchez-Kane, “coro de soles menores” (chorus of the minor suns), 2025, performance at Cheruby, Shanghai, courtesy of Cheruby, photo Lanxin Zhao