Bodega Run Collages

Two Palms is pleased to present a new body of silkscreens, collages, and three-dimensional cast paper works from Tschabalala Self’s ongoing series Bodega Run. Working across various media, Tschabalala Self explores the implicit politicization and sexualisation of Black bodies through a self-reflective lens. Through the depiction of characters with active histories, psychologies and desires, her practice functions as a subversion of ethno-cultural stereotyping. With Bodega Run, Self expands her approach to create dynamic, rounded and multi-dimensional characters out of the items and experiences that exist within the infamous New York corner stores.

In Central Harlem, the area of New York City in which the artist was born and raised, local bodegas are microcosms of cross-cultural exchange. With the demographic changes that have occurred across the city in recent years, bodega ownership has shifted from being Puerto Rican and Dominican to predominantly Yemeni, with these shops continuing to service primarily Black and Latino customers. The bodega’s existence, like the Black, Latino and Yemeni communities that inhabit New York City, is rooted in exclusion and therefore, has become a space for marginalized communities to organize and create their own local exchange economies.

Bodegas emerged with the arrival and settlement of Puerto Ricans and Dominicans in New York and have traditionally been owned and operated by various communities of color. The Spanish word for shop, ‘bodega’, has become a colloquialism for the small, family run corner stores seen all over the city. Found primarily in Black and Latino neighborhoods and often occupying the main intersections of these areas, the bodega has become a geographic emblem of Manhattan’s diaspora.

Bodegas sell a wide selection and an often multifarious array of products. As stores that are operated by people of color to serve people of color, the bodega has become an articulation of its neighborhood’s identity. The works in this series are an investigation into the social, political and economic implications of these corner stores through an exploration of the products they sell and their aesthetic organization. In four large-scale works on paper, the outline of the bodega customer is silkscreened on top of drawings of the store's goods. Shown in profile, the viewer only sees the customers from their shoulders up, as if catching a glimpse of them over a shelf as they peruse the aisles of the store.