Reflections on Joaquín Orellana's Marimba Imaginaria

The Spine of Music co-curators invited experts to discuss the artist’s legacy in the music and art scenes.


  • Laura Novoa, Musicologist, Universidad de Buenos Aires.
  • María Alejandra Privado, Sociologist
  • Stefan Benchoam, Proyectos Ultravioleta
  • Diana Flatto, Former Assistant Curator, Americas Society; doctoral student, University of Pittsburgh (moderator and co-curator)
  • Sebastián Zubieta, Music Director, Americas Society (moderator and co-curator)

In a conversation with Diana Flatto and Sebastián Zubieta, co-curators of the Americas Society exhibition Joaquín Orellana: The Spine of Music, experts spoke about the Guatemalan artist’s legacy in the music and art scenes. Laura Novoa opened the discussion talking about Orellana's formative period while a fellow at the CLAEM studio in Buenos Aires. Stefan Benchoam talked about how he approaches Orellana’s work as a curator and the artist’s relationship with the contemporary art world. María Alejandra Privado presented on the complex historical context in which Orellana lived in Guatemala and the marimba's relationship with the country during its civil war. For her, Orellana puts in his music all aspects of the country's daily life: “A daily life fulfilled with pain, with social injustice, deep inequalities, authoritarianism, violence, corruption, racism, but also heterogeneity, tenderness, and hope,” she said.