Artists: Laura Barrón, Dianna Frid, Alexandra Gelis, Pablo Helguera, Manolo Lugo, Juan Ortiz-Apuy, Eugenio Salas, José Seoane, José Luis Torres, and Clarissa Tossin.
Clarissa Tossin: TransAMERICAS: a sign, a situation, a concept
September 10, 2016 – December 11, 2016
In TransAMERICAS: a sign, a situation, a concept, artists examine relationships formed between people and places, including resonant and often overlapping themes of community, travel, bridges and language. The contemporary practices featured in the exhibition go beyond Eurocentric conceptions of Latin American culture, transcending stereotypical and reductive views of the fantastic or exotic. The artists live and work in Canada, the United States, and Southwestern Ontario, which have diverse communities of people of Latin American heritage. This presence is increasing, contributing narratives to the national and continental experience.
Artist: Clarissa Tossin
Clarissa Tossin: Encontro Das Águas (Meeting of Waters)
October 8, 2016 – November 20, 2016
Los Angeles, CA, USA
Artists: Carmen Argote, Cirilo Domine, Naotaka Hiro, Owen Driggs, Peter Bo Rappmund, Clarissa Tossin.
August 28, 2016 – October 2, 2016
Curated by Bia Gayotto
Nan Rae Gallery, Woodbury University
Artists: Alexander Apóstol, Mely Barragán, Beatriz Cortez, Marcos Ramírez ERRE, Regina José Galindo, Luis G. Hernández, Camilo Ontiveros, Rubén Ortiz-Torres, Gala Porras-Kim, and Clarissa Tossin.
Curated by Idurre Alonso and Selene Preciado
January 7 – February 14, 2016
LACE (Los Angeles Contemporary Exhibitions)
Los Angeles, CA, USA
Customizing Language critically examines how language reflects geopolitical realities. The project approaches language as a tool to reflect power relations, hierarchies, social differences, and historical problems, as well as a cultural system of belonging that can indicate the loss or reconfiguration of certain kinds of identities. The participating artists engage local and historical issues by using experimental language to create a dialogue with the audience, exploring issues of “custom” as cultural tradition, U.S. Customs as an immigration agency, and lowrider customization in popular culture.
Artists: Pablo Accinelli, Edgardo Aragón, Juan Araujo, Felipe Arturo, Nicolás Bacal, Milena Bonilla, Paloma Bosquê, Pia Camil, Bevenuto Chavajay, Marcelo Cidade, Donna Conlon & Jonathan Harker, Nicolás Consuegra, Minerva Cuevas, Elena Damiani, Mariana Castillo Deball, Ximena Garrido-Lecca, Federico Herrero, Voluspa Jarpa, Runo Lagomarsino, Adriana Lara, Engel Leonardo, Valentina Liernur, Mateo López, Renata Lucas, Daniel Steegmann Mangrané, Nicolás Paris, Amalia Pica, Pablo Rasgado, Pedro Reyes, Adrián Villar Rojas, Gabriel Sierra, Clarissa Tossin, Carla Zaccagnini.
United States of Latin America
Curated by Jens Hoffmann and Pablo León de la Barra
September 18, 2015 – January 3, 2016
Museum of Contemporary Art
Detroit, MI, USA
The exhibition United States of Latin America brings together more than thirty emerging artists from Latin America, many of whom will be exhibiting in the United States for the first time.
The show is based on an ongoing conversation between two curators, Jens Hoffmann and Pablo León de la Barra, who for a number of years have exchanged research and information about artists, artworks, and the overall development of the art world from Mexico to Argentina and the many countries in between. The exhibition is an extension of this dialogue into the galleries of the Museum of Contemporary Art Detroit via artworks suggested in dialogue format.
United States of Latin America features a wide range of works in a variety of mediums, for instance a series of photographs about housing in Havana, a film about the effects of gang violence in Mexico, sculptures reflecting on the involvement of the CIA in Latin American dictatorships, drawings of historical monuments from the future, a floor map about the selling of Brazilian rubber to the United States, boulders from a Colombian river that have been turned into flip-flops, and paintings about the interplay of modernist houses, tropical vegetation, and utopian architecture. The individual artworks touch upon themes such as geography, history, urbanism, memory, colonialism, architecture, war, modernism, social inequality, regionalism, and power. Given how Latin America’s realities oscillate between the colonial and the contemporary, between severe economic hardships and enormous financial expansions, between flourishing democracies and suppressive dictatorships, and between great progress and immense regression, the exhibition presents an intentionally fragmented survey, a deliberately disjointed overview, of the region and the art being made there. It allows the viewer a glimpse into a reality that may seem geographically near, but is in many ways far away and unfamiliar.
The curators invited a number of writers and curators from throughout Latin America to contribute to a glossary of terms that articulate the region’s historical landscape and conceptual syntax. This glossary will be published in the exhibition catalogue along with a conversation between the curators, texts on all of the artists, images of the exhibited artworks, and a roundtable discussion featuring a number of curators based in Latin America.
Developed in collaboration with Kadist Art Foundation, United States of Latin America is curated by Jens Hoffmann, MOCAD senior curator at large, and Pablo León de la Barra, guest curator. A range of public programs and educational activities will run concurrently with the exhibition, including a public conversation with the curators, lectures by some of the participating artists, film screenings, and performances.
Artists: Conrad Bakker, Constantin Boym, Kendell Carter, Jordi Colomer, William Cordova, Elmgreen & Dragset, Fernanda Fragateiro, Terence Gower, Brian Jungen, Olga Koumoundouros, Jill Magid, Iñigo Manglano-Ovalle, Dorit Margreiter, Josiah McElheny, Edgar Orlaineta, Gabriel Sierra, Simon Starling, Clarissa Tossin, Barbara Visser, and James Welling.
May 30 – August 30, 2015
Scottsdale Museum of Contemporary Art
Scottsdale, AZ, USA
The fresh and provocative artworks presented in MetaModern refer literally and conceptually to modernist design objects of the mid-century. These historic objects have gained the status of icons. It is a testament to their enduring power that they now catalyze a generation of artists too young to have experienced modernism firsthand.
The notion of modernist design and architecture had its genesis in Europe, particularly during an intense decade of experimentation at the Bauhaus beginning in Weimar, Germany, in 1919. Function and utility were the school’s ethos, while the use of modern materials, honesty of form, and an embrace of abstraction were its hallmarks. World War II shifted the activity to this side of the ocean, as European practitioners, including Walter Gropius, Ludwig Mies van der Rohe, and Richard Neutra emigrated to the United States and joined the faculties of American architectural schools. Modernism was held as truth by the generations of students they trained: emerging in the 1960s and ’70s, these young designers felt they had arrived at a place beyond style. Modernism was the pure and true mode in which to design everything from typography to furniture to architecture.
When architects, those removed by several generations from the birth of modernism, came to maturity as designers––Frank Gehry, Charles Moore, and Robert Venturi––they challenged all that modernism had embraced. Their vocabulary included fanciful embellishment, applied color, decorative patterning, and references to historical styles.
Now, over 90 years after the revolution at the Bauhaus, modernism continues to spark a passion in designers and collectors. The prices of signature objects of the classic modernist era are soaring, and its buildings are being restored and valued as historical monuments. Although vintage Eames rockers have been integrated into contemporary high-end living rooms, they are quite different in these new eclectic contexts. Similarly, artists who incorporate iconic modernist designs in their work today often produce recombinations and modifications that result in an entirely unique mix––or meta, meaning beyond, changed, self-referential, and abstracted from another concept. Using classic elements in new configurations, these artists are making original works of art that comment on the claims of the past in light of the complexities of the present.
The artists in this exhibition, most of whom were born in the 1960s, adopt the actual vocabulary of the modern movement to question the content of its style and its relationship to history. Their work challenges the tenets of modernism head on. Often ironic and witty, the works in this exhibition offer a thoughtful critique of innumerable issues that extend across the fields of design and history.
Artist: Clarissa Tossin
Unmapping the World -Book release & Conversation with Michael Ned Holte
June 13, 2014
Samuel Freeman Gallery
Los Angeles, CA, USA
Unmapping the World is organized around a set of works produced by Clarissa Tossin over a period of five years during artist residencies, and commissioned by Brazilian and North American art institutions. These works manifest the development of a poetics that employs a wide range of strategies in order to address contemporary issues. Tossin’s objects, videos, and installations explore a broad and intricate spectrum of desires, impasses, and utopias, while also establishing their own expressive logic, above and beyond these topics.
Driven by the curiosity of the artist-anthropologist, Tossin’s works are formed through analysis of the politics of space and urban spaces, as well as interrogations into the mappings and discourses of power, relationships of consumption and identity, circulations of symbols and ideas, and the role of architecture—particularly that of Brasília, a modernist monument that she has come to call ‘home.’
The book is bilingual, in English and Portuguese, and includes texts by Moacir dos Anjos, Michael Ned Holte, and Guilherme Wisnik. The publication has been made possible by a fellowship from the California Community Foundation.
Artist: Clarissa Tossin
How does it travel?
May 29, 2015
Samuel Freeman Gallery
Los Angeles, CA, USA
How does it travel? brings together photographs, sculptures, prints, and site-specific works that analyze movements and their resulting displacements and transformations. She tracks materials, ideologies, and bodies that travel by foot, by car, by plane, and by her own hand. Using two primary nodes, Brazil and the United States, Tossin finds generative ground in transpositions that yield compelling misregistrations.
Artists: Basma Alsharif, Jordi Colomer, Patricia Esquivias, Emiliano Rocha Minter, Barbara T. Smith, Sergio De La Torre, and Clarissa Tossin.
In Search of an Exit
April 7 – May 3, 2105
Curated by the MA class of 2015: Lucia Fabio, Samantha Greggs, Daniela Lieja, Selene Preciado, Heber Rodriguez
Heritage Square Museum
Los Angeles, CA, USA
The works in the exhibition present situations where individuals or groups of people find themselves in a space and have to negotiate their existence within pre-established and external conditions. Inspired by Jean Paul Sartre’s 1944 play No Exit, the exhibition considers themes of time, existence, freedom, and collectivity through time-based work. The structure of a given environment is a pervasive yet ever-evolving stimulus of human behavior capable of catalyzing a spectrum of reactions, from cultural resistance to immersion. The works in this exhibition, a selection of video installations, sound works, and performances, address the adaptability of the human condition in response to external circumstances.
The exhibition will take place at the Heritage Square Museum—a living history museum featuring nineteenth-century buildings from Southern California—a choice of location that highlights the human impulse to preserve artifacts. As the characters in No Exit questioned the peculiarity of their surroundings (a Second Empire-style parlor room), the twenty-first-century artworks stimulate a similar assessment of the three Victorian-era houses into which they are placed. The unique setting additionally highlights the prevalence of the built environment and the effects of architecture as preoccupations for many of the artists in the exhibition.
Artist: Clarissa Tossin
Streamlined: Belterra, Amazônia / Alberta, Michigan
January 16 – April 26, 2015
MOLAA Project Room
Long Beach, CA, USA
In a video installation, Clarissa Tossin brings together two Ford Motor Company towns: Belterra, a rubber plantation village in the Brazilian Amazon Forest, and Alberta, a sawmill town in Michigan’s Upper Peninsula. Built concurrently in 1935, each town provided, respectively, rubber and wood for the manufacturing of the Model T in the United States. The installation establishes a sense of place, highlighting how specific cultural characteristics inhabited and changed these equivalent, pre-planned towns.
Artists: Shuvinai Ashoona, Jamison Chas Banks, Raymond Boisjoly, Andrea Bowers, Matthew Buckingham, Adriana Bustos, Johanna Calle, Luis Camnitzer, Liz Cohen, Minerva Cuevas, Blue Curry, Agnes Denes, Juan Downey, Gianfranco Foschino, Futurefarmers, Anna Bella Geiger, Andrea Geyer, Frank Gohlke, Pablo Helguera, James Hyde, Deborah Jack, Yishai Jusidman, Leandro Katz, Irene Kopelman, Miler Lagos, Glenda León, Ric Lum, Iñigo Manglano-Ovalle, Gilda Mantilla & Raimond Chaves, Daniel Joseph Martinez, Jason Middlebrook, Ohotaq Mikkigak, Kent Monkman, Patrick Nagatani, Florence Miller Pierce, Fernando Palma Rodríguez, Marcel Pinas, Edward Poitras, Marcos Ramirez ERRE & David Taylor, Kevin Schmidt, Allan Sekula, Melanie Smith, Charles Stankievech, Clarissa Tossin, and Antonio Vega Macotela
July 20, 2014 – January 11, 2015
Santa Fe SiteLines, New Perspectives on Art of the Americas
Santa Fe, NM, USA
Unsettled Landscapes looks at the urgencies, political conditions and historical narratives that inform the work of contemporary artists across the Americas – from Nunavut to Tierra del Fuego. Through three themes – landscape, territory, and trade – this exhibition expresses the interconnections among representations of the land, movement across the land, and economies and resources derived from the land.
Artist: Clarissa Tossin
Transplanted (VW Brasilia)
July 3 – August 2, 2014
Galeria Luis Strina
Sao Paulo, Brazil
Transplanted (VW Brasilia), is a natural latex cast of a Volkswagen Brasilia car. The first model entirely designed and manufactured by Volkswagen in Brazil, and named after the city which urban design emphasizes the usage of the car. A popular car, the Brasilia soon became a national design icon. The car used for the latex cast in Transplanted (VW Brasilia), is the central piece in the installation Brasília, Cars, Pools and Other Modernities, which will be on view at the Hammer Museum’s Los Angeles Biennial, Made in L.A., from June 15 to September 7, 2014.
The skin-like imprint is evocative of mass production processes since casting mimics the idea of endless copies.Transplanted (VW Brasilia), approximates industry and its abstracted processes to the individual body by anthropomorphizing a car. Moreover, the sculpture’s skin-like formal quality provokes considerations about the pursuit of cars as a third skin in consumer society.
The sculpture uses latex as an art material while also considering its cultural and historical background as an industry commodity within the context of Brazil. The titled, Transplanted (VW Brasilia), was inspired by a passage in Brazil’s latex history: Henry Wickham’s successful quest to smuggle seeds from the rubber tree, Hevea brasiliensis, from the area of Santarém, in Brazil to Kew Gardens in London from where seedlings were dispatched to Malaysia thus dooming the Amazonian rubber boom. The word “transplanted” also further emphasizes the sculptural transformation of a hard car-body into a soft, malleable, cast/imprint of it.
Clarissa Tossin has a BFA by Fundação Armando Álvares Penteado, São Paulo, Brazil and a MFA in Art by the California Institute of the Arts (CalArts), Valencia, CA. Recent solo shows include: Museum of Latin American Art (MOLAA), Long Beach, EUA (2014); Brasília, Cars, Pools & Other Modernities, Artpace – San Antonio, Texas, EUA; Blind Spot, Blaffer Art Museum – University of Houston, Houston, Texas, EUA; Study for a Landscape, Sicardi Gallery, Houston, Texas (2013). Recent group shows include: Liberdade em Movimento, Fundação Iberê Camargo, Porto Alegre, BR (curated by Jacopo Crivelli); Bringing the World into the World, The Queens Museum, New York, NY (curated by Hitomi Iwasaki); Made in L.A. 2014, Hammer Museum, Los Angeles, CA – curated by Connie Butler and Michael Ned Holte; Dispositivos para um mundo (im)possível, Roesler Hotel, São Paulo, BR (curated by Luisa Duarte); Unsettled Landscapes, SITE Santa Fe, NM – curated by Lucía Sanromán and Candice Hopkin, 2014).
Artists: Juan Capistrán, Danielle Dean, Harry Dodge, Lecia Dole-Recio, Kim Fisher, Judy Fiskin, Magdalena Suarez Frimkess & Michael Frimkess, Mariah Garnett, Gerard & Kelly, Samara Golden, Piero Golia, Marcia Hafif, Channing Hansen, Jibade-Khalil Huffman, James Kidd Studio, Barry Johnston, Kchung, Devin Kenny, Gabriel Kuri, Caitlin Lonegan, Los Angeles Museum of Art, Tala Madani, Max Maslansky, Emily Mast, Jennifer Moon, Brian O’Connel, Harsh Patel, Marina Pinsky, Public Fiction, Sarah Rara, A.L. Steiner, Ricky Swallow, Tony Greene: Amid Voluptuous Calm, Clarissa Tossin and Wu Tsang.
Made in L.A. 2014
June 15 – September 7, 2014
Curated by Connie Butler and Michael Ned Holte
Los Angeles, CA, USA
The Hammer’s biennial exhibition Made in L.A. 2014 features works by 35 Los Angeles artists with an emphasis on emerging and under recognized artists. It debuts recent work and new painting, installation, video, sculpture, photography, and performances created specifically for the exhibition. The exhibition is accompanied by a comprehensive hardcover catalogue, as well as a full roster of free public programming.
Artists: Alighiero Boetti, Chris Burden, Ray and Charles Eames, Harun Farocki, Dominique Gonzalez-Foerster, Hikaru Hayakawa, Yumi Kori, L十 (PAK Sheung Chuen, WO Man Yee, LEE Soen Long), Liu Wei, Reanimation Library, Jessica Rylan, Tavares Strachan, Clarissa Tossin, Lawrence Weiner, and Wong Kit Yi.
Bringing the World into the World
June 15 – October 12, 2014
New York, USA
Bringing the World into the World is an exhibition of international contemporary art about the experience of the act of seeing, and is inspired by the largest object in the Museum’s collection, the Panorama of the City of New York, a 9,335 sq.ft. scale model of the New York City’s five boroughs. Recapturing the lure and the wide-eyed amazement triggered by this historical artifact, Bringing the World revisits the panoramas—the 18th Century crowd-pleasing spectacle of 360-degree circular paintings—and their concepts and roles in the development of visual culture. The exhibition features a diverse body of works exploring the formal, conceptual, and psychological principles of panoramas as devices of wonder and the many ways in which we see, imagine, and comprehend worlds both familiar and unfamiliar.
Organized by Hitomi Iwasaki, Director of Exhibitions/Curator
Artists: Allora and Calzadilla, Andrei Monastyrski, André Severo, Ariel Orozco, Arthur Barrio, Christian Marclay, Cildo Meireles, Clarissa Tossin, Dennis Oppenheim, Emily Jacir, Francesco Arena, Francis Alÿs, Lygia Clark, Mario Garcia Torres, Meriç Algün Ringborg, Multiplicity, Richard Long, Runo Lagomarsino and Stanley Brouwn.
Liberdade em Movimento
Curator: Jacopo Crivelli Visconti
May 30 – August 10, 2014
Fundaçao Iberê Camargo
Porto Alegre, Brazil
Adotado esporadicamente desde a década de 1920, o caminhar se consolida e difunde como prática artística a partir do final dos anos 60, mais ou menos no mesmo período em que a Internacional Situacionista e seu mâitre a penser Guy Debord, autor do clássico Teoria da deriva, abandonam a atividade artísticaem favor de um engajamento político explícito e militante, motivado pelos acontecimentos de 1968. Próximas das derivas situacionistas, as ações dos artistas que, ao redor do mundo, se lançam a andar sem muito mais do que “uma câmera na mão e uma ideia na cabeça” (como diria em âmbito brasileiro e de uma perspectiva distinta, mas de certa maneira complementar, Glauber Rocha) buscavam consolidar a ideia de uma arte não comercializável, que pudesse minar as bases da sociedade capitalista recusando a obrigação de produzir obras tangíveis e vendáveis. Em alguns casos, essas ações se opunham diretamente ao clima político em que foram concebidas, mas logo o “campo expandido do movimento” se firmou em contextos menos conflituosos, resistindo como técnica artística até os dias de hoje, apesar das mudanças do clima político.
O conflito entre a unicidade e a efemeridade da ação, e o registro que, apesar de incompleto, é o que sobra dela e passa a ser conhecido pelo público constitui, sem dúvida, uma das idiossincrasias mais fascinantes e inegáveis do âmbito do movimento. Qualquer relato ou registro de uma ação é, por sua própria natureza, parcial, já que condensa algo muito maior: uma ação com uma determinada duração no tempo e extensão no espaço, um desenvolvimento, um acúmulo de experiências. Ao trabalhar frequentemente com materiais frágeis e em constante transformação (gelo, neve, areia, terraetc.), os artistas evidenciam essa condição, ao passo que apontam para a possibilidade de se criar laços mais duradouros, e uma noção de comunidade real e profunda, exatamente através do momento, do ato, do movimento que precisam ser vivenciados e experimentados. A disposição para entregar o aspecto final da obra ao acaso, pelo viés da intervenção mais ou menos direta dos outros,confirma o desinteresse dos artistas aqui reunidos para um objeto artístico convencional, perfeitamente acabado. Mesmo quando acontece em completa solidão, mais do que produzir algo novo essas ações visamà fusão do artista com o espaço,à simbiose com a sociedade. As trilhas espontâneas que se formam, em Brasília, em aberta contraposição e contravenção ao traço livre e poético, mas raramente prático, de quem desenhou a capital, sintetizam perfeitamente essas considerações: o movimento é o caminho para a liberdade.
The notion of gesture is the primary impulse behind my work. My videos, photographs, installations, sculptures and drawings are the result of subtle gestures that intend to reveal what goes unseen or unexamined, be it architectural similarities between a settlement in the Amazon forest and a small town in Michigan or the intensive labor required to clean a pristine modernist government building in Brasília. Architecture, as a manifestation of identity, ideology and economic power is of great interest to me, as it is to investigate the invisible supporting structures of modernity, urban life and capitalism. In dialogue with these concerns are my interest in indexical processes and the cultural and historical connotations of a given material. My investment in indexicality stems from its intrinsic relationship to our bodies and therefore proximity to the real. Not unlike what happens with history and its material evidences. My works on paper exist in a place between bi and tridimensionality, as they usually hold object-like qualities. Double-sided prints, ink and paper disintegrated into dust, crushed folds and creases are some examples on how I treat surfaces as material. This approach triggers a tension between representation and trace while combining body movements to the articulation of ideas.
Traducido del inglés
La noción del gesto es el primer impulse detrás de mi obra. Mis videos, fotografías, instalaciones, esculturas y dibujos son el resultado de sutiles gestos que intentan revelar lo que pasa desapercibido o sin estudiarse, ya sea similitudes arquitectónicas entre una aldea en la selva Amazónica con un pueblito de Michigan; o la intensa labor requerida para limpiar un edificio gubernamental prístino en Brasilia. La arquitectura como manifestación de la identidad, ideología y poder económico es de gran interés para mí, como lo es investigar las estructuras de soporte de la modernidad que son invisibles, la vida y el capitalismo. En diálogo con estas preocupaciones está mi interés en los procesos de indicio y las connotaciones culturales e históricas de un material. Mi dedicación al indicio parte de su relación intrínseca con nuestros cuerpos y por tanto a la proximidad con lo real, no muy alejado de lo que pasa con la historia y sus evidencias materiales. Mi obra en papel existe en un lugar entre la bi y tridimensionalidad, ya que por lo regular poseen cualidades de objeto. Grabados de dos caras, tinta y pape desintegrados en polvo y dobleces machucados, son ejemplos de cómo manejo las superficies como material. Este acercamiento provoca una tensión entre la representación y el trazo mientras combino movimientos corporales a la articulación de las ideas.
Selected Biographical Information
Education / Training
- 2013: Artpace, International Artist-in-Residence, San Antonio, USA. (guest curator: Hanru Hou)
- 2010-2012: Core Program, The Museum of Fine Arts, Houston, USA.
- 2011: SOMA summer, Mexico City, Mexico.
- 2010: Fundación Botín, Santander, Spain. (mentor: Mona Hatoum)
- 2009: Skowhegan School of Painting & Sculpture, Skowhegan, ME, USA.
- 2009: M.F.A., California Institute of the Arts, Valencia, CA, USA.
- 2000: B.F.A., Fundação Armando Álvares Penteado, São Paulo, Brazil.
Prizes / Fellowships
- 2013: ARC Grant, Center for Cultural Innovation.
- 2012: VI Concurso de Videoarte, Fundação Joaquim Nabuco.
- 2012: Artistic Innovation Grant, Center for Cultural Innovation.
- 2010-2012: Core Program Fellowship, The Museum of Fine Arts, Houston.
- 2009: Skowhegan School of Painting & Sculpture, Donald and Doris Fisher Fellowship / CalArts Matching Fellowship.
- 2009: CAA Los Angeles MFA Award, College Art Association.
- 2009: Deanʼs Grant, California Institute of the Arts.
- 2008: Interdisciplinary Grant, California Institute of the Arts.
- 2007-2009: Graduate Scholarship, California Institute of the Arts.
- 2013: “Brasília, Cars, Pools & Other Modernities”, Artpace, San Antonio, TX, USA.
- 2013: “Study for a Landscape”, Sicardi Gallery, Houston, TX, USA.
- 2012: “On Brasília”, Centre 3, Hamilton, Canada.
- 2011: “Gasto”, Luisa Strina Gallery, São Paulo, Brazil.
- 2009: “Real”, California Institute of the Arts, Valencia, CA (MFA Thesis).
- 2013: “Panoramas do Sul – 18º Sesc_Videobrasil”, SESC Pompéia, São Paulo, Brazil.
- 2013: “Concreta Sonho”, Galerie Krinzinger, Vienna, Austria.
- 2013: “La Elipsis Arquitectónica”, Centro Cultural Universitario Tlatelolco, Mexico City, Mexico.
- 2013: “When Attitudes Became Form Become Attitudes”, Museum of Contemporary Art Detroit, MI, USA.
- 2012: “When Attitudes Became Form Become Attitudes”, CCA Wattis Institute, San Francisco, CA, USA.
- 2012: “Dallas Biennale”, Dallas Contemporary, Dallas, TX, USA.
- 2012 “Core Exhibition”, Glassell School of Art, Museum of Fine Arts Houston, Houston, TX, USA.
- 2011: “Building Arts”, Sicardi Gallery, Houston, TX, USA.
- 2011: “YLA 16: Thought Cloud”, Mexic-Arte Museum, Austin, TX, USA.
- 2011: “Nowhere Near Here”, Houston Center for Photography, Houston, TX, USA.
- 2011: “Core Exhibition”, Glassell School of Art, Museum of Fine Arts Houston, Houston, TX, USA.
- 2013: “La Elipsis Arquitectónica,” Centro Cultural Universitario Tlatelolco (exhibition publication).
- 2012: “When Attitudes Became Form Become Attitudes,” CCA Wattis Institute (exhibition catalogue).
- 2012: “Core Program,” Museum of Fine Arts Houston (exhibition catalogue).
- 2011: “Core Program,” Museum of Fine Arts Houston (exhibition catalogue).
- 2010: “Brasília by Foot,” Shifter 16: Pluripotential (April): 44-51.
- 2009: “Why Theory,” California Institute of the Arts M.F.A. 2009 (exhibition publication).
- The Museum of Fine Arts, Houston, USA.
- Kadist Art Foundation, France / USA.
- Blaffer Art Museum
- Current Magazine
- Arttextum, Tejido de agentes culturales inspirados en Latinoamérica