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Acknowledgement of Country

We acknowledge the Traditional Owners of Country, in particular the Gadigal people on whose land the Biennale of Sydney is located. We recognise their continuing connection to land, waters, and culture and pay our respect to Elders, past and present.

First Nations people are respectfully advised that this site includes works, names and images of deceased people. This includes cultural practices and artistic intellectual property of a sensitive nature.

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Angélica Serech, Rubén Dario (Even the shadow, if constant, leaves a mark Author: Rubén Dario), 2025. Commissioned by the Biennale of Sydney and the Fondation Cartier pour l’art contemporain. Courtesy of the artist and La Galeria Rebelde © Angélica Serech. Installation view, 25th Biennale of Sydney, Rememory, 2026, Art Gallery of New South Wales. Photo © Art Gallery of New South Wales, Felicity Jenkins.

Angélica Serech, Mani Kan num na na chire, xa oj ulew (Do not feel so superior, you are dust too), 2025. Commissioned by the Biennale of Sydney and the Fondation Cartier pour l’art contemporain. Courtesy of the artist and La Galeria Rebelde © Angélica Serech. Installation view, 25th Biennale of Sydney, Rememory, 2026, Art Gallery of New South Wales. Photo © Art Gallery of New South Wales, Felicity Jenkins.

Angélica Serech
Born 1982, Chimaltenango, Guatemala
Lives and works in San Juan Comalapa-Chixot, Guatemala 

Mani kan num na na chire, xa oj ulew (Do not feel so superior, you are dust too) 2025
cotton thread, wool brocade 

Chuwa ruxaq q´aq´ (Facing the flames) 2025
wool thread, poplar spindle (bˊatzˊibˊäl) 

Aun la sombra si es constante deja huella, autor: Rubén Dario (Even the shadow, if
constant, leaves a mark, author: Rubén Dario) 2025
cotton thread, natural cotton cloth 

Commissioned by the Biennale of Sydney and the Fondation Cartier pour l’art contemporain
Courtesy of the artist and La Galería Rebelde 

Angélica Serech is a Mayan Kaqchiquel textile artist whose practice celebrates the intergenerational knowledge of her maternal aunts. Using unique patterns and compositions, Serech weaves stories of herself, her people and her history. This act of weaving is a means of personal resistance and cultural continuation, and an expression of gratitude to the craft and its custodians, from past to present and future. 

Serech’s three large-scale textile works each represent separate yet interconnected facets of her being – a mother, an Indigenous woman and a practising artist – echoing her belief that no strand of knowledge exists in isolation. Her woven works embody this complexity of ‘being’ and invite us to reflect on the inherent ways our cumulative contexts shape who we are and what we represent.