Through my work I have shown a proclivity to failure or the decaying associated to the Mexican urban landscape, aspects of modernist culture and traces of art history. My practice has explored the urban ruin – including paintings and photographs of halted projects along Mexico’s highways (Highway Follies); abandoned billboards that become theatre-like backdrops therefore theatricalizing failed capitalist strategies (Espectaculares), or the problems and contradictions that arise when engaging with iconic art works (No A trío A or Cuadrado Negro).
Traducido del inglés
A través de mi obra he mostrado una proclividad al fracaso o a la decadencia asociada al paisaje urbano de México, aspectos de la cultura modernista y las huellas de la historia del arte. Mi práctica ha explorado la ruina urbana, incluyendo pinturas y fotografías de proyectos inconclusos a lo largo de las carreteras de México (Highway Follies), espectaculares abandonados que se convierten en telones de fondo teatrales, por tanto teatralizando estrategias capitalistas fracasadas (Espectaculares) o los problemas y contradicciones que surgen al abordar obras de arte icónicas (No A trío A or Cuadrado Negro).
Selected Biographical Information
Education / Training
- 2006-2008: Master of Fine Arts, The Slade School of Fine Art, London, United Kingdom.
- 1999-2003: Bachelor of Fine Arts, Rhode Island School of Design, Providence, R.I., USA.
Solo Exhibitions
- 2014: “Entrecortinas: abre, jala, corre“, Galería OMR, Mexico City, Mexico.
- 2013: “Espectacular Telón“, Sultana Gallery, Paris, France.
- 2013: “Cuadrado Negro, part of the program Mutatis Mutandis in Artium“, Basque museum-center of contemporary art, Vitoria, Spain.
- 2010: “Lost In You (A Performance That Never Happened)”, Open studio performance, Mexico City, Mexico.
- 2009: “El Resplandor”, El 52 Gallery (project space and residence program ran by OMR Gallery), Mexico City, Mexico.
Group Exhibitions
- 2013: “Draft Urbanism”, Biennial of the Americas, Denver, Colorado, USA.
- 2013: “No A Trio A”, La Casa Encendida, Madrid, Spain.
- 2013: “Horizontal”, La Central Gallery, Bogota, Colombia.
- 2012: “Popo de Paris“, Sultana Gallery, Paris, France.
- 2011: “El Grito“, Museo de Arte Contemporáneo de Castilla y León (MUSAC), Leon, Spain.
- 2011: “Mañana”, Proyectos Ultravioleta, Guatemala, Guatemala.
- 2010: “Sin techo está pelón, colección Jumex”, Universidad de Guanajuato, Guanajuato, Mexico.
- 2010: “El Resplandor”, Museo Experimental el Eco, Mexico City, Mexico.
- 2009: “There are false problems…”, Proyectos Monclova, Monterrey, Mexico.
- 2009: “Residencia de El Resplandor “, OMR Projects, Mexico City, Mexico.
- 2009: “[sic]”, OMR Gallery, Mexico city, Mexico.
- 2009: “This is not an invitation, it’s a presentation”, OMR projects, Mexico City, Mexico.
- 2008: “Lanzarote”, Keith Talent Gallery, London, United Kingdom.
- 2008: “Croyances Quotidiennes”, Palais Université Robert Schuman, Strasbourg, France.
- 2007: “Eventos Sociales”, Galería de Arte Mexicano, Mexico City, Mexico.
Collections
- La Colección Jumex, Mexico City, Mexico.
- Patricia Phelps de Cisneros, New York City, USA.
- Kadist Art Foundation, San Francisco, USA.
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- Pia Camil, “Espectacular Telón Toluca I-VI”, 2014, Hand dyed and stitched canvas, Variable dimensions. Site-specific project. Location: Galería OMR, Mexico City, Mexico. Photo credit: Courtesy of the artist.
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- Pia Camil, “Espectacular Telón Ecatepec II”, 2014, Hand dyed and stitched canvas, Variable dimensions. Site-specific project. Location: Galería OMR, Mexico City, Mexico. Photo credit: Courtesy of the artist.
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- Pia Camil, “Espectacular Telón Pachuca I, and Fragmento 8 I”, 2014, Hand dyed and stitched canvas, and low temperature ceramic with enamel, Variable dimensions. Site-specific project. Location: Galería OMR, Mexico City, Mexico. Photo credit: Courtesy of the artist.
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- Pia Camil, “Fragmento 8 I”, 2014, Low temperature ceramic with enamel, 82.5 x 42.5 x 16.9 cm. Photo credit: Courtesy of the artist.
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- Pia Camil, “Espectacular Telón”, 2013, Hand dyed and stitched canvas, Variable dimensions. Site-specific project. Location: Sultana, Paris, France. Photo credit: Courtesy of the artist.
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- Pia Camil, “Espectacular Telón”, 2013, Hand dyed and stitched canvas, Variable dimensions. Site-specific project. Location: Sultana, Paris, France. Photo credit: Courtesy of the artist.
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- Pia Camil, “Cuadrado Negro”, 2013, Metal beams and construction mesh, 800 x 800 x 800 cm. Site-specific project. Location: Basque museum-center of contemporary art, Vitoria, Spain. Photo credit: Courtesy of the artist.
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- Pia Camil, “Cuadrado Negro”, 2013, Metal beams and construction mesh, 800 x 800 x 800 cm. Site-specific project. Location: Basque museum-center of contemporary art, Vitoria, Spain. Photo credit: Courtesy of the artist.
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- Pia Camil, “No A Trio A”, 2013, The installation was made for La Casa Encendida, Madrid, with artist Guillermo Mora and the suit was designed in collaboration with Uriel Urban. , Variable dimensions. Site-specific project. Location: La Casa Encendida, Madrid, Spain. Photo credit: Courtesy of the artist.
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- Pia Camil, “Tlatelolco: Shot from a balcony”, 2011, still from Video Floor Projection, (00:06:09), Variable dimensions. Photo credit: Courtesy of the artist.
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- Pia Camil, “Maqueta para el monumento”, 2011, Engraved black marble on wooden base, 27 x 75 x 15 cm. Photo credit: Courtesy of the artist.
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- Pia Camil, “Highway Follies”, 2011, Resin and mineral powdered pigment, 150 x 200 cm. Photo credit: Courtesy of the artist.
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- Pia Camil, “Highway Follies (study I)”, 2011, Inkjet Print, 35 x 45 cm. Photo credit: Courtesy of the artist.
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- Pia Camil, “More or less Frank Stella”, 2009, Wooden planks painted and treated, floor mounted, 270 x 310 cm. Photo credit: Courtesy of the artist.
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- Pia Camil, “Diagonal Hoarding”, 2008, Painted wooden lengths, Variable dimensions. Photo credit: Courtesy of the artist.
My work responds to an inquiry, obsession, fascination, and pleasure for the structures, assemblages and dynamics that evidence the state of transitivity and precariousness that appeal to a state of temporal indetermination. The works are located on the limit of their completion and resting in a residual plane. The works—installations, sculptures, drawings and photographs—are characterized by notions of scale, volume, weight, gravity, surface, pressure, contention, resistance, verticality, horizontality, limit and depth, creating an intimate relation with the space, architecture, the spectator’s body and the temporality of the exhibition and the pieces.
The works transform, determine, modify, and interfere in the physical space in which they operate as well as the social, political, economic and historical space they inhabit and its possible modes of production, exhibition and circulation.
My work has an interest for allegorical procedures, link to the fragment, the ruin, history, memory, identity and the city. These concepts are articulated with the inquiry on the construction process, provisional, precarious, transitory, and unstable structures.
Mi trabajo responde a una investigación, obsesión, fascinación y placer por las estructuras, ensamblajes y dinámicas que evidencian estados de transitoriedad y precariedad. Situados en el límite de un estado de finalización y un plano residual. Mediante instalaciones, esculturas, dibujos y fotografías, las obras desarrolladas se caracterizan por nociones de escala, volumen, peso, gravedad, superficie, presión, contención, resistencia vertical, horizontal, límite y profundidad, generando una íntima relación con el espacio, la arquitectura, el cuerpo del espectador y la temporalidad de las piezas y de su exhibición.
Las obras operan en el espacio físico transformándolo, determinándolo, modificándolo e interfiriendo; los efectos producidos por las obras en lo físico resuenan con los espacios sociales, políticos, económicos e históricos en los que residen y se posibilita la producción, exposición y circulación de la obras.
Mi trabajo parte del interés por procedimientos alegóricos, vinculados al fragmento, la ruina, la historia, memoria, identidad y la ciudad. Estos conceptos se articulan con la reflexión sobre los procesos constructivos, estructuras provisionales, precarias, transitorias e inestables.
Selected Biographical Information
Education / Training
- 2004-2009: Bachelor of Fine Arts, with emphasis in Visual Arts, art theory and history, Universidad de los Andes, Bogotá, Colombia.
- 2007-2008: Academic exchange program, Universidad de São Paulo, Escuela de Comunicações e Arte, São Paulo, Brasil.
Prizes / Fellowships
- 2008-2009: Scolarship Uniandinos for academic excellens (received at the Bacherlor degree), Uniandinos, Bogotá , Colombia.
- 2007-2008: Scolarship Uniandinos for academic excellens (received at the Bacherlor degree) , Uniandinos, Bogotá , Colombia.
Solo Exhibitions
- 2012: “El año pasado (Last Year)“, Galería Valenzuela Klenner, Bogotá, Colombia.
- 2009: “Acervo“, Project room Universidad de los Andes, Bogotá, Colombia.
- 2006: “Art IN Theory“, Project room Universidad de los Andes, Bogotá, Colombia.
Group Exhibitions
- 2013: “Desequilibrio y movilidad, Nuevos nombres (Unstable and movement, New Names)“, Museo del Banco de la República, Bogotá, Colombia.
- 2013: “Horizontal, 43 Salón (Inter)nacional de Artistas, Ministerio de Cultura“, Museo de Antioquia, Medellín, Colombia.
- 2013: “Amalgamas“, Cámara de Comercio, Bogotá, Colombia.
- 2013: “Horizontal“, Galería La Central, Bogotá, Colombia.
- 2012: “Panel“, Arte Cámara, Cámara de comercio ArtBo, Bogotá, Colombia.
- 2012: “Fundición“, La Otra, Bogotá, Colombia.
- 2011: “Suamox“, Bogotá, Colombia.
- 2011: “Omnívoro (DELENGUAAMANO)“, http://www.santiago-reyes.com/
en/suamox-2011/, Bogotá, Colombia. - 2009: “Monumetría (DELENGUAAMANO)“, Pinacoteca do Estado de São Paulo, São Paulo, Brazil.
- 2008: “Art IN Theory XXI Salón Nacional de Artistas, Ministerio de Cultura“, XXI Salón Nacional de Artistas, Ministerio de Cultura, Cali, Colombia.
Publications
- Gilberto Mariotti, Néstor Gutiérrez, Santiago Reyes Villaveces, Monumetria (Sao Paulo : Pinacoteca do estado de Sao Paulo).
- Julia Buenaventura, “Delenguaamano-Collective “, ArtNexus #73 , Jun/Aug 2009.
Collections
- Sayago & Pardon, California, USA.
Links
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- Santiago Reyes Villaveces, “Llanta de carga 29.5 x 29”, 2013, Graphite on tire and wooden wedge, 200cm Ø x 200cm Ø x 80cm. Site-specific project. Location: Museo del Banco de la República, Bogotá, Colombia. colección del artista. Photo credit: Jairo Llano.
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- Santiago Reyes Villaveces, “Llanta de carga 35 65–33”, 2013, Graphite on tire and wooden structure, 220cm Ø x 90cm x Sección transversal 500cm x 10cm x 5cm. Colección del artista. Photo credit: Jairo Llano.
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- Santiago Reyes Villaveces, “Horizontal”, 2013, Graphite on wood and wooden wedge, 20cm x 470cm x 20cm. Site-specific project. Location: Museo de Antioquía, Médellin, Colombia. Photo credit: Jairo Llano.
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- Santiago Reyes Villaveces, “Vértigo”, 2012, Series: 1/3+PA, Photographic print on cotton paper, 85cm x 60 cm. Photo credit: Jairo Llano.
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- Santiago Reyes Villaveces, “Panel (díptico)”, 2012, Drawing on paper (diptych), 244cm x 110cm. Colección del artista. Photo credit: Image courtesy of the artist
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- Santiago Reyes Villaveces, “Staff”, 2013, Graphite drawing on paper coiled in threaded rod, 350cm Ø 5cm threaded rod x 100cm drawing x 100cm drawing cm. Photo credit: Jairo Llano.
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- Santiago Reyes Villaveces, “One-way direction”, 2013, Graphite on wood, bearing and wedges , 250cm x 20cm x 300cm. Photo credit: Jairo Llano.
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- Santiago Reyes Villaveces, “Frame”, 2012, Graphite on wood, 190cm x 15cm x 3cm
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- Santiago Reyes Villaveces, “Vara”, 2012, Graphite on aluminum, 300cm x ø 3.75cm, ø 3.75cm, ø 2.5cm. Sayago & Pardon Collection. Photo credit: Jairo Llano.
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- Santiago Reyes Villaveces, “Ventana”, 2012, Graphite on wood and hinges, 150cm x 15cm x 3cm. Sayago & Pardon Collection. Photo credit: Jairo Llano.
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- Santiago Reyes Villaveces, “Aro”, 2012, Installation of bearings of different sizes, Variable dimensions. Colección del artista. Photo credit: Jairo Llano.
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- Santiago Reyes Villaveces, “Panel (diptych)”, 2012, Series: 1/3, Graphite on paper, 100cm e/o x 70cm e/o. Photo credit: Jairo Llano.
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- Santiago Reyes Villaveces, “Pipe”, 2012, Graphite on cardboard, 80cm x 60cm. Photo credit: Jairo Llano.
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- Santiago Reyes Villaveces, “Hinge”, 2013, Series: 1/3, Graphite on paper and hinge, 155cm x 15cm
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- Santiago Reyes Villaveces, “Aerolito (diptych)”, 2012, Graphite on paper, 100cm e/o x 70cm e/o
Translated from Spanish
In about ten years of professional experience, I have been interested in different transcultural processes from which I intend to build paragons between the local knowledge of my Colombian context and how these face each other, validate, or are opposed to foreign cultural discourses and production.
In this period of time I have focused on developing projects in which I can combine my interests in installation, sculpture, and video, and how these artistic mediums can (and must) be understood contextually. I find pertinent to mention that I am drawn to recognize and study the breaks I find in artistic and cultural discourses as in the information that originates from different contexts as mine. Following this line of thought, I remember constantly Brazilian Oswaldo de Andrade and his ideas about “anthropophagy,” since we constantly devour what belongs to someone else so we can produce something new.
Durante algo más de diez años de ejercicio profesional, he estado interesado en diversos procesos transculturales con los cuales pretendo construir parangones entre los saberes locales de mi contexto colombiano y cómo estos se enfrentan, validan u oponen a discursos y producciones culturales foráneas.
En este período de tiempo me he concentrado en desarrollar proyectos en los que puedo combinar mis intereses en la instalación, la escultura y vídeo, y cómo estos términos artísticos pueden (y deben) ser entendidos contextualmente. Me parece pertinente mencionar que me siento muy atraído por reconocer y estudiar las fisuras que encuentro tanto en los discursos artísticos y culturales como en la información que proviene de contextos diferentes al propio. En este orden de ideas, recuerdo constantemente al brasilero Oswaldo de Andrade y sus ideas sobre la “antropofagia”, pues constantemente devoramos lo que es ajeno para producir algo nuevo.
Selected Biographical Information
Education / Training
- 2007-2005: Master in Fine Arts, Pratt Institute, Brooklyn, USA.
- 2001-1996: Maestro en Artes Plásticas, Universidad de los Andes, Bogotá, Colombia.
Prizes / Fellowships
- 2013: Premio LARA 2012, Asiaciti Trust, Singapore, Singapore.
- 2011: Beca de creación en arte digital y arte para la red para: proyectocooperativa.org, Ministerio de Cultura, Bogotá, Colombia.
- 2010: Beca de investigación curatorial, 14 Salones Regionales de Artistas Zona Centro (proyecto la cooperativa), Ministerio de Cultura, Bogotá, Colombia.
- 2007: Honors Degree, Pratt Institute, Brooklyn, USA.
- 2007-2005: Fulbright Fellowship Recipient, Fulbright / Ministerio de Cultura, Colombia, Bogotá, Colombia.
- 2004: Tercer premio. XII Salón Nacional de Artistas Jóvenes. Galería Santafe., Instituto Distrital de Cultura y Turismo – IDCT, Bogotá, Colombia.
- 2003: Tercer premio. Salón de Arte Bidimensional, Fundación Gilberto Alzate Avendaño, Bogotá, Colombia.
- 2002: Primer premio. V muestra Distrital de Artes Plásticas. , Instituto Distrital de Cultura y Turismo – IDCT, Bogotá, Colombia.
- 2002: Magna Cum Laude, Universidad de los Andes, Bogotá, Colombia.
- 2002: Grado con honores, Universidad de los Andes, Bogotá, Colombia.
Solo Exhibitions
- 2013: “Elementos para una unidad colectiva“, Galería LA CENTRAL, Bogotá, Colombia.
- 2010: “Pasado Tiempo Futuro“, Galería Nueveochenta, Bogotá, Colombia.
- 2008: “Instituto de visión“, Galería Nueveochenta, Bogotá, Colombia.
- 2008: “Void“, (proyecto en colaboración con Mónica Páez). Magnan Emrich Contemporary, Nueva York, USA.
- 2007: “Loosing“, Steuben Hall Gallery, Pratt Institute, Brooklyn, USA.
- 2005: “Suspendido“, Galería Casas Riegner, Bogotá, Colombia.
Group Exhibitions
- 2013: “Saberdesconocer “, 43 Salón (inter) Nacional de Artistas, Medellín, Colombia.
- 2013: “The Past is Present “, MOCAD, Detroit, USA.
- 2013: “LARA 2012“, NC-arte, Bogotá, Colombia.
- 2013: “Horizontal”, LA CENTRAL, Bogotá, Colombia.
- 2012: “When Attitudes Became Form Become Attitudes“, CCA Wattis Institute for Contemporary Arts, San Francisco, CA, USA.
- 2012: “Imaginary Homelands“, Art Gallery of York University (AGYU), Toronto, Canada.
- 2011: “Sobre el Territorio: Arte Contemporáneo en Colombia“, Santral, Istambul, Turkey.
- 2010: “Histórias de Mapas, Piratas e Tesouros“, Centro Itaú Cultural, São Paulo, Brazil.
Publications
- José Roca y Sylvia Suárez, Transpolítico: Arte en Colombia 1992-2012 (Bogotá: J.P Morgan, Paralelo 10, Lunwerg Editores), 2.
- Diego Garzón, De lo que somos. 110 obras para acercarse al arte contemporáneo colombiano (Madrid: Lunwerg Editores), 2.
Collections
- Kadist Foundation, San Francisco, USA.
- Banco de la República, Colombia, Bogotá, Colombia.
Links
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- Nicolás Consuegra, “Aquí y allá”, 2012, Glass and tinplate, Variable dimensions. Photo credit: Image courtesy of the artist
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- Nicolás Consuegra, “Noche (después de Ziraldo) y Día”, 2012, Series: 3, Steel, 170 x 120 x 2.5 cm. Banco de la República, Colombia. Photo credit: Image courtesy of the artist
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- Nicolás Consuegra, “Algunos dañados, otros funcionan (detail)”, 2011, MDF, quintuplex, glass and mirror, Variable dimensions. Private collection, Colombia. Photo credit: Image courtesy of the artist
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- Nicolás Consuegra, “Algunos dañados, otros funcionan (detail view of the back of the piece)”, 2011, MDF, quintuplex, glass and mirror, Variable dimensions. Private collection. Photo credit: Image courtesy of the artist
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- Nicolás Consuegra, “Cartografía Textual”, 2009, Offset print, 90 x 125 cm. Photo credit: Image courtesy of the artist
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- Nicolás Consuegra, “Celeste”, 2008, HD animation, (loop), Variable dimensions. Private collection. Photo credit: Image courtesy of the artist
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- Nicolás Consuegra (en colaboracion con Monica Paez), “Void”, 2008, Mirrors on wall, Variable dimensions. Photo credit: Image courtesy of the artist
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- Nicolás Consuegra, “Sin título (campos de color)”, 2006, Offset print without lithographic plate, 50 x 35 cm. Photo credit: Image courtesy of the artist
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- Nicolás Consuegra, “I miss you”, 2005, Giclée print on paper (conservation). Photo documentation of intervention with gum on streets in Brooklyn, NY, 134 x 100 cm. Photo credit: Image courtesy of the artist
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- Nicolás Consuegra, “Sin título (mantel rojo)”, 2004, Oil on glass, 90 x 150 cm. Photo credit: Image courtesy of the artist
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- Nicolás Consuegra, “Sin título (bailarina). “, 2004, Oil and silver coating on glass, 100 x 70 cm. Photo credit: Image courtesy of the artist
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- Nicolás Consuegra, “Monumentos Mínimos (después de Dan Flavin)”, 2003, Ultra light cigarettes on wall, Variable dimensions. Site-specific project. Location: Kent explora tus sentidos (curaduría de Jaime Cerón), Bogotá, Colombia.
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- Nicolás Consuegra, “Monumentos Mínimos (después de Dan Flavin), vista general”, 2003, Ultra light cigarettes on wall, Variable dimensions. Site-specific project. Location: Kent explora tus sentidos. Curaduría Jaime Cerón, Bogotá, Colombia. Photo credit: image courtesy of the artist.
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- Nicolás Consuegra, “Sin título (gorros Marlboro). Del proyecto “Traslaciones””, 2002, Replica of caps made with boxes of Marlboro cigarettes manufactured by vendors. These caps were reproduced without any commercial information, Variable dimensions. Photo credit: Image courtesy of the artist
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- Nicolás Consuegra, “Sin título”, 2002, Intervention with luminescent red paint on the wall (paint reflects a red halo on the white wall). From the project “Traslaciones”, Variable dimensions. Site-specific project. Location: Galería Valenzuela y Klenner, Bogotá, Colombia. Photo credit: Image courtesy of the artist
