- Lucia Pizzani, “A Garden for Beatrix”, 2014-2015, Ceramic sculptures (stoneware and glazings) on pigment ink prints, Variable dimensions. Site-specific project. Location: Cecilia Brunson Projects (CBP), London, United Kingdom. Colección Juan Yarur. Photo credit: Patrick Dodds. Courtesy of CBP.
- Lucia Pizzani, “A Garden for Beatrix (Detail)”, 2014-2015, Ceramic sculpture (stoneware and glazings) on pigment ink prints, Variable dimensions. Site-specific project. Location: Cecilia Brunson Projects (CBP), London, United Kingdom. Colección Juan Yarur. Photo credit: Patrick Dodds. Courtesy of CBP.
- Lucia Pizzani, “A Garden for Beatrix (Detail)”, 2014-2015, Ceramic sculpture (stoneware and glazings) on pigment ink prints, Variable dimensions. Site-specific project. Location: Cecilia Brunson Projects (CBP), London, United Kingdom. Colección Juan Yarur. Photo credit: Patrick Dodds. Courtesy of CBP.
- Lucia Pizzani, “Sagrario Series”, 2015, Series: Sagrario, Collodion wet plate photography on aluminium, 24 x 18 cm. Photo credit: Patrick Dodds. Courtesy of CBP.
- Lucia Pizzani, “Sagrario #1”, 2015, Series: Sagrario, Collodion wet plate photography, 24 x 18 cm. Photo credit: Courtesy of the artist.
- Lucia Pizzani, “Unidentified Women A & B “, 2015, Video, sound piece with printed papers and folders, Variable dimensions. Photo credit: Patrick Dodds. Courtesy of CBP.
- Lucia Pizzani, “Unidentified Women A “, 2015, Sigle channel video without sound, (2’25”), Variable dimensions. Photo credit: Courtesy of the artist.
- Lucia Pizzani, “Textiles #1”, 2013, Series: Textiles, Wax print fabric, 160 x 40 x 60 cm. Photo credit: Courtesy of the artist.
- Lucia Pizzani, “Exhibition view of The Worshipper of the Image”, 2014, Ceramic sculptures (stoneware and glazings) and Photography (Collodion wet plates printed edition), Variable dimensions. Photo credit: Oskar Proctor. Courtesy of Beers Contemporary.
- Lucia Pizzani, “Duo. Impronta Series”, 2013, Series: Impronta, Collodion wet plate photography on aluminium, 13 x 9 cm. Photo credit: Courtesy of the artist.
- Lucia Pizzani, “Capullo A9”, 2013, Series: Capullos, Ceramic. Stoneware and glazings, 17 x 17 x 14 cm. Photo credit: Oskar Proctor. Courtesy of Beers Contemporary.
- Lucia Pizzani, “Capullo Series on view at Mariposario exhibition at Oficina#1”, 2013, Series: Capullo, Ceramic sculptures (stoneware and glazings) , Variable dimensions. Photo credit: Courtesy of the artist.
- Lucia Pizzani, “Catleya Lips and Siliceous Series. Exhibition view of Orchis”, 2012, Catleya Lips: Acrilyc laser cuts. Siliceous Series: stoneware and glazings, Variable dimensions. Photo credit: Courtesy of the artist.
- Lucia Pizzani, “Siliceous #1”, 2011, Series: Siliceous, Ceramic sculpture (stoneware and glazings), Variable dimensions. Colección Patricia Phelps de Cisneros (CPPC). Photo credit: Courtesy of the artist.
- Lucia Pizzani, “Anala Series”, 2011, Pigment ink print on cotton paper, 60 x 40 cm. Photo credit: Courtesy of the artist.
My work revolves around issues of gender, the body, and a lifelong interest in nature. This combination also draws from my various studies in Visual Communication, Conservation Biology and Fine Arts. In recent years I have been developing a visual approach that uses photography, performance, installation, sculpture and video. Through these processes I tackle issues that concerned the Surrealists and the body art of the seventies, while maintaining a contemporary approach through my research-based practice. I seek stories that often come from literary and artistic references in significant periods both in Europe and South America. Ultimately I mix a wide range of aesthetics, cultures and historical figures in my work.
Traducido del inglés
Mi trabajo gira en torno a las cuestiones de género, el cuerpo, y un interés de por vida hacia la naturaleza. Esta combinación se basa también en mis diversos estudios en Comunicación Visual, Biología de la Conservación y Bellas Artes. En los últimos años, he desarrollado un enfoque visual a través de la fotografía, performance, instalación, escultura y video. A través de estos procesos, abordo cuestiones que preocupaban a los Surrealistas y al arte del cuerpo en los años setenta, manteniendo un enfoque contemporáneo a través de mi práctica basada en la investigación. Busco historias que a menudo provienen de referencias literarias y artísticas en períodos significativos tanto en Europa y América del Sur. En última instancia, mezclo en mi trabajo una amplia gama de la estética, las culturas y figuras históricas.
Selected Biographical Information
Education / Training
- 2008-2009: Masters in Fine Arts, Chelsea College of Arts and Design, London, United Kigndom.
- 2001-2002: Certificate in Conservation Biology, CERC Columbia University, New York, USA.
- 1993-1998: BA in Visual Communications, Universidad Católica Andres Bello, Caracas, Venezuela.
Prizes / Fellowships
- 2014: Hotshoe Photofusion Award 2014, Photofusion, London, United Kingdom.
- 2013: Special Mention Region 0 Video Art Festival, KJCC-NYU, New York, USA.
- 2013: Emerging Artist Award , AICA-Venezuela Association of International Art Critics, Venezuelan chapter, Caracas, Venezuela.
- 2013: XII Premio Eugenio Mendoza, Fundación Sala Mendoza, Caracas, Venezuela.
- 2006: Second Prize IX Salon CANTV de Jóvenes Artistas FIA , Feria Iberoamericana de Arte (FIA), Caracas, Venezuela.
Solo Exhibitions
- 2015: “A Garden for Beatrix“, Cecilia Brunson Projects, London, United Kingdom.
- 2014: “The Worshipper of the Image“, Beers Contemporary, London, United Kingdom.
- 2014: “El Adorador de la Imagen”, Sala Mendoza, Caracas, Venezuela.
- 2013: “Mariposario“, Oficina#1, Caracas, Venezuela.
- 2011: “Orchis”, Galería Fernando Zubillaga, Caracas, Venezuela.
- 2009: “Vessel”, Galería Fernando Zubillaga, Caracas, Venezuela.
- 2007: “Absent Portraits”, HACS (Miami) & La Carnicería (Caracas), Miami & Caracas, USA & Venezuela.
- 2003: “Vestigios”, Sala Mendoza. La Librería, Caracas, Venezuela.
Group Exhibitions
- 2014: “Solo Project with Oficina#1”, Pinta London curated by Kiki Mazzucchelli & Catherine Petitgas, London, United Kingdom.
- 2013: “Region 0 Video Art Festival“, Museo de Arte Contemporáneo de Vigo (MACRO), Vigo, Spain.
- 2013: “Solo Project curated by Octavio Zaya”, Pinta Video at Pinta NY, New York, USA.
- 2013: “Region 0“, The Latino Video Art Festival of NY, King Juan Carlos I Center at NYU, New York, USA.
- 2013: “Masquerade – Be Another”, Stephen Lawrence Gallery, London, United Kingdom.
- 2013: “XII Premio Eugenio Mendoza”, Sala Mendoza, Caracas, Venezuela.
- 2012: “Deseo y transgresión curated by Jesus Torrivilla”, Periferico Caracas. II Taller de curaduría – Centro de Arte Los Galpones, Caracas, Venezuela.
- 2011: “Friendship of the people”, Simon Oldfield Gallery, London, United Kingdom.
- 2011: “The Winter Show”, Maddox Arts, London, United Kingdom.
- 2010: “Guest Artist”, Bienal Internacional de Arte Contemporáneo ULA, Merida, Venezuela.
- 2010: “Curated Series of Moving Images”, Art Reach, Nottingham, United Kingdom.
- 2010: “ITINERANTE/PASSERBY/ZEITLICH”
, GBG Arts, Caracas, Venezuela. - 2009: “Beyond Appearances”, Lehman College Art Gallery, Bronx, NY, USA.
- 2008: “MOLAA Collects Photo-Based Art”, Museum of Latin American Art MOLAA, Long Beach, USA.
- 2008: “Lasts days of summer”, Alejandra Von Hartz Gallery, Miami, USA.
- 2008: “64th Salon Arturo Michelena”, Arturo Michelena Museum, Valencia, Venezuela.
- 2007: “Tipos Moviles-Bogota”, Universidad de los Andes, Project Space, Bogotá, Colombia.
- 2007: “YO, Contemporary Self-portraits”, Solar Gallery, East Hampton, NY, USA.
- 2006: “Queens Bienalle. Queens International 06: Everything all at once”, Queens Museum, Queens, NY, USA.
- 2006: “Identidades”, Galería El Museo, Bogotá, Colombia.
- 2006: “I Bienal del Agua “, Museo Jacobo Borges, Caracas, Venezuela.
- 2005: “Traveling Tales curated by Camila Marambio”, Aratori Warairapa Art Museum, Masterton, New Zeland.
- 2003: “L Factor”, Exit Art, New York, USA.
Publications
- Felix Suazo, Panorámica: Arte Emergente en Venezuela 2000-2012 (Caracas: Fundación Telefónica).
- Nicola Homer, “Lucía Pizzani: Interview“, Studio International, 24/07/2014.
- Apóstol, Alexander y González, Lorena, “El arte venezolano en las instituciones de fin de siglo“, El País, 14 Marzo 2013.
- Miranda Gavin, “Lucía Pizzani: A Garden for Beatrix“, Hotshoe Magazine Blog, 02/06/2015.
- Vasi Hirdo, “Corporeal Metamorphoses“, Ceramics Now, , 56, 57.
- Celeste Olalquiaga, “Lucía Pizzani: la adoradora de mariposas“, Artishock, 17/03/2014.
- Gabriela Salgado, “Lucía Pizzani: Beers Contemporary“, ArtNexus, 101.
Collections
- Colección Patricia Phelps de Cisneros (CPPC), Caracas – NY, Venezuela – USA.
- Essex Collection for Art from Latin America (ESCALA), Essex, United Kingdom.
- Colección Juan Yarur, Santiago de Chile, Chile.
- Museum of Latin American Art MOLAA, Long Beach, USA.
- Colección Banco Mercantil, Caracas, Venezuela.
- Ximena Garrido-Lecca, “Destilaciones”, 2014, Ceramics, copper tubes, iron base, MDF, clay, 170 x 310 x 200 cm.
- Ximena Garrido-Lecca, “La Trama”, 2013, Knitted copper, 0 x 360 x 250 cm.
- Ximena Garrido-Lecca, “La Trama” (detail), 2013, Knitted copper, 0 x 360 x 250 cm.
- Ximena Garrido-Lecca, “Lineas de Fuga”, 2014, Copper tubes and reed, 200 x 1600 x 300 cm.
- Ximena Garrido-Lecca, “Lineas de Fuga (detail)”, 2014, Copper tubes and reed, 200 x 1600 x 300 cm.
- Ximena Garrido-Lecca, “Proyecto País”, 2012, Series: Paredes de Progreso, Mud, straw, polymer, polystyrene, emulsion, wood, 210 x 580 x 140 cm.
- Ximena Garrido-Lecca, “Geometría social”, 2011, Concrete blocks, adobe bricks, bamboo panels, 120 x 165 x 193 cm.
- Ximena Garrido-Lecca, “Resistant Shapes: Cylindrical Planes”, 2012, Oil drums, oil paint, wood, wire, nails, 205 x 390 x 69 cm.
- Ximena Garrido-Lecca, “Aleaciones: FM”, 2014, Electric wire, reed, speaker, radio, 270 x 220 x 30 cm.
- Ximena Garrido-Lecca, “Composition I”, 2011, Raffia sacks, string, 400 x 300 cm.
- Ximena Garrido-Lecca, “The Followers”, 2010, Mixed media, 457 x 1169 x 28 cm.
- Ximena Garrido-Lecca, “Aleaciones: FM (detail)”, 2014, Electric wire, reed, speaker, radio, 270 x 220 x 30 cm.
- Ximena Garrido-Lecca, “Aleaciones con memoria de forma IV”, 2014, Copper tubes and reed, 2 x 200 x 400 cm.
Selected Biographical Information
Education / Training
- 2003-2004: MA Fine Arts, Byam Shaw School of Art, Central Saint Martins, London, UK.
- 2001-2002: Post-Graduate Course Fine Arts, Byam Shaw School of Art, Central Saint Martins, London, UK.
- 1997-2001: BA Fine Arts, Universidad Católica del Perú, Lima, Peru.
Prizes / Fellowships
- 2014: Shortlisted for the Future Generation Art Prize, Pinchuk Art Centre, Kiev, Ukraine.
- 2014: Honorific Mention Bienal de Cuenca, Bienal de Cuenca, Cuenca, Ecuador.
Solo Exhibitions
- 2015: “Arquitectura del humo”, 80m2 Livia Benavides, Lima, Peru.
- 2014: “Los Suelos”, MATE, Lima, Peru.
- 2013: “Los Suelos”, Galeria Casado Santapau, Madrid, Spain.
- 2012: “VAMOS”, MIMA, Middlesbrough, UK.
- 2012: “Paisaje Antrópico”, Max Wigram Gallery, London, UK.
- 2011: “El Porvenir”, Mimmo Scognamiglio Arte Contemporanea, Milan, Italy.
- 2010: “The Followers”, Civic Room, London, UK.
Group Exhibitions
- 2014: “Future Generation Art Prize”, Pinchuk Art Centre, Kiev, Ukraine.
- 2014: “Bienal de la Imagen en Movimiento”, BIM, Buenos Aires, Argentina.
- 2014: “Bienal de Cartagena de Indias“, Cartagena de Indias, Colombia.
- 2014: “The 2nd CAFAM Biennale”, The Central Academy of Fine Arts Museum – CAFAM, Beijing, China.
- 2014: “Ir para Volver”, Bienal de Cuenca, Cuenca, Ecuador.
- 2013: “ICASTICA “, International Biennale of Arrezzo, Arezzo, Italy.
- 2013: “Paraíso en Blanco”, 80m2 Livia Benavides, Lima, Peru.
- 2013: “LARA (Latin American Roaming Art)”, NC ARTE, Bogota, Colombia.
- 2012: “Remesas: flujos simbólicos/ movilidades de capital”, Fundación Telefónica, Lima, Peru.
- 2011: “Newspeak: British Art Now”, The Gallery of South Australia, Adelaide, Australia.
- 2010: “Identity Theft”, Mimmo Scognamiglio Arte Contemporanea, Milan, Italy.
- 2010: “Newspeak: British Art Now”, Saatchi Gallery, London, UK.
Collections
- MALI Museo de Arte de Lima, Lima, Peru.
- PAAM Perez Art Museum, Miami, USA.
- MIMA Middlesbrough Institute of Modern Art, Middlesbrough, UK.
- Kadist Foundation, San Francisco , USA.
- MATE Museo Mario Testino, Lima, Peru.
Selected Biographical Information
Education / Training
- 1956-1958: Bachelor’s Degree in Architecture, Autonomous University of Mexico (UNAM), Mexico City, Mexico.
- 1960: Master’s in Architecture, Cornell University, Ithaca, New York, New York.
- 1962: Certificate in Prefabrication, Centre Scientifique et Technique du Batiment, Paris, France.
Solo Exhibitions
- 2015: “Eduardo Terrazas“, Timothy Taylor Gallery, London, United Kingdom.
- 2015: “Second Nature“, Museo de Arte Carrillo Gil, Mexico City, Mexico.
- 2015: “Ways od Perception“, Nils Staerk Gallery, Copenhaguen, Denmark.
2013: “The Predicament of Mankind“, Nils Staerk Gallery, Copenhaguen, Denmark.
2013: “The Predicament of Mankind“, Art Feature at Art Basel, Basel, Switzerland.
2013: “Constellations“, Almine Rech Gallery, Paris, France.
2012: “Posibilities of a Structure”, Casa Luis Barragán, Mexico City, Mexico.
2012: “1.1.4“, Proyectos Monclova, Mexico City, Mexico.
2010: “Posibilidades de una Estructura”, Museo de Arte de Sinaloa, Sinaloa, Mexico.
1987: “Everyday Museum”, OMR, Mexico City, Mexico.
1987: “Everyday Museum”, Cultural Institute of Mexico, San Antonio, United States.
1987: “Multiplications”, Mobile Oil Company, Mexico City, Mexico.
1975: “Not knowing it existed and unable to explain it”, Gallery of the Benjamin Franklin Library, Mexico City, Mexico.
1974: “Paintings and Tablas”, Tunnel Gallery, New York, United States.
1974: “Eduardo Terrazas”, Museo Nacional de Arte, La Paz, Bolivia.
1974: “Eduardo Terrazas”, Eugenio Mendoza Foundation, Caracas, Venezuela.
1974: “Tablas”, Casa de la Cultura, Maracay, Venezuela.
1973: “Eduardo Terrazas”, Museo Nacional de las Bellas Artes, Santiago, Chile.
1973: “Eduardo Terrazas”, Suzy Langlois Gallery, Paris, France.
1973: “Eduardo Terrazas”, Knoll International, Paris, France.
1972: “Tablas”, Palacio de Bellas Artes, Mexico City, Mexico.
Group Exhibitions
- 2014: “Platform“, Almine Rech Gallery, Paris, France.
- 2014: “Artevida”, Casa Francia Brasil, Rio de Janeiro, Brazil.
- 2014: “Desafío a la estabilidad”, Museo Universitario de Arte Contemporáneo (MUAC), Mexico City, Mexico.
- 2013: “Sharjah Biennial 11”, Sharjah Biennial 11, Sharjah, United Arab Emirates.
- 2012: “Poule!”, Fundación/Collection Jumex, Mexico City, Mexico.
- 2012: “Exposición conmemora los 40 años”, Museo de la Solidaridad, Santiago, Chile.
- 2011: “Espacio flexible”, La Quiñonera, Mexico City, Mexico.
- 2011: “México: Política y Poética”, San Francisco State University Fine Arts Gallery, San Francisco, USA.
- 2011: “Mexico and Mexico news”, San Francisco State University Fine Arts, San Francisco, USA.
- 2002: “ABCDF”, Portraits d’une Ville-Institut du Mexique à Paris, Paris, France.
- 1973: “Young artists ’73”, Union Carbide, New York City, United States of America.
- 1970: “Graphics 1 New Dimensions”, Museum of Modern Art, New York City, United States of America.
- 1968: “Word and Image: posters and typography from the graphic design collection”, Museum of Modern Art, New York City, USA.
Publications
- Eduardo Terrazas, Segunda Naturaleza (Second Nature) (Mexico City: RM + Museo de Arte Carrillo Gil (MACG).
- Eduardo Terrazas, Posibilidades de una Estructure (Possibilities of a Structure) (Mexico City: Turner).
- Editor Hossein Amirsadeghi, Contemporary Art Mexico (London: TransGlobe Publishing), 302-305.
- Cisneros Fontanals Art Foundation, Impulso, Razón, Sentido, Conflicto (Miami: Cisneros Fontanals Art Foundation), 112-113.
- Bera Nordal , Mexico – Poetry and Politics (Stockholm: Nordiska Akvarellmuseet), 66-67.
- María Minera, “Busco ir a la esencia del universo“, El País, 17/04/2015.
- Notimex, “Museo de Arte Carrillo Gil exhibirá obras de Eduardo Terrazas“, El Excelsior, 29/01/2015.
- “El MoMA Presenta “Latinoamérica en Construcción: Arquitectura De 1955 a 1980“, Artishock, 10/03/2015.
Collections
- Fundación-Colección Jumex, México City, Mexico.
- Museum of Fine Arts, Boston, United States of America.
- MUAC – Museo Universitario de Arte Contemporáneo, Mexico City, Mexico.
- Museo Amparo, Puebla, Mexico.
- Museo de la Solidaridad Salvador Allende, Santiago, Chile.
- MOMA- Museum of Modern Art (architecture and design dpmt.), New York City, United States.
- Eduardo Terrazas, “14.23 Mural Jenga”, 2014-2015, From the series: Everyday Museum, Wooden blocks inked with aniline on wooden board, Overall dimensions: 250 x 886 cm. Courtesy of the artist and Proyectos Monclova. Photo: Agustín Estrada.
- Eduardo Terrazas, “16.36”, 2014, Series: Constellations, Chaquira glass breads on wooden board covered with Campeche wax. 90.5 x 90.5 cm. Courtesy of the artist. Photo: Agustín Estrada.
- Eduardo Terrazas, “1.1.25b”, 1974, Series: Possibilities of a Structure, Subseries: Cosmos, India ink on paper, 46.4 x 46.4 cm, Courtesy of the artist and Proyectos Monclova. Photo: Agustín Estrada.
- Eduardo Terrazas, “1.1.32”, 2013, Series: Possibilities of a Structure, Subseries: Cosmos, Wool yarn on wooden board covered with Campeche wax. 120 x 120 cm, Private collection. Photo: Diego Berruecos.
- Eduardo Terrazas, “1.1.66”, 2014, Series: Possibilities of a Structure, Subseries: Cosmos, Automotive lacquer with matte varnish on wooden board. 200 x 200 x 4.5 cm, Private collection. Photo: Agustín Estrada.
- Eduardo Terrazas, “1.1.94”, 1970-1972, Series Possibilities of a Structure, Subseries: Cosmos, Wool Yarn on wooden board covered with Campeche wax, 150 x 150cm. Collection of the Museo Universitario Arte Contemporáneo, UNAM. Photo: Agustín Estrada.
- Eduardo Terrazas, “1.1.147”, 1974-2014, Series: Possibilities of a Strucutre, Subseries: Cosmos, Wool yarn on wooden board covered with Campeche wax. 120 x 120 x 3.5 cm. Private collection. Photo: Agustín Estrada.
- Eduardo Terrazas, “5.1”, 1971-1972, Series: Deconstruction of an Image, Automotive lacquer with matte varnish on wooden board, 252 x 200 x 5 cm. Collection of the Museo Amparo. Photo: Diego Berruecos.
- Eduardo Terrazas, “1.3.11”, 1975-2015, Series: Possibilities of a Structure, Subseries: Diagonals, Wool yarn on wooden board covered with Campeche wax, 90 x 90 cm. Courtesy of the artist and Timothy Taylor Gallery. Photo: Diego Berruecos.
- Eduardo Terrazas, “Crecimiento Orgánico (Organic Growth)”, 1975, Series: Organic Growth, Acrylic on canvas, Set of 16, Image Dimensions (each): 23.62 x 23.62 x .98 in, 60 x 60 x 2.5 cm. FEMSA Collection. Photo: Diego Berruecos.
- Eduardo Terrazas, “1.4.11”, 1974-2015, Series: Possibilities of a Strucutre, Subserie: Grid, Wool yarn on wooden board covered with Campeche wax, 90 x 90 cm. Courtesy of the artist and Timothy Taylor Gallery. Photo: Agustin Estrada.
- Eduardo Terrazas, “2.52b”, 1974, Series: Tablas, Marker on paper, 37.5 x 37.5 x 3.5 cm. Courtesy of the artist and Monclova Proyectos. Photo: Agustín Estrada.
- Eduardo Terrazas, “9.13”, 2010, Subserie: Universe, Acrylic on canvas, 200 x 200 x 4 cm. Courtesy of the artist Proyectos Monclova. Photos: Diego Berruecos.
- Eduardo Terrazas, “0.2”, 1969, Series: 0, Acrylic on canvas, 120 x 100 x 2.5 cm. Courtesy of the artist and Proyectos Monclova. Photo: Agustín Estrada.
- Eduardo Terrazas, “2.57”, 1972-2014, Series: Tablas, Wool yarn on wooden borard covered with Campeche wax. 90 x 90 x 3.5 cm. Courtesy of the artist and Nils Staerk Gallery. Photo: Agustín Estrada.
- Eduardo Terrazas, “1.1.148”, 1974-2014, Series: Possibilities of a Structure, Subseries: Cosmos, Wool yarn on wooden board covered with Campeche wax. 120 x 120 x 3.5 cm. Private Collection. Photo: Agustín Estrada.
- Andrea Canepa, “A second chance to rephrase the question”, 2013, Wool on canvas, digital print, glass, wooden shelfs, Variable dimensions. Site-specific project. Location: Wu Galería, Lima, Peru. Photo credit: the artist.
- Andrea Canepa, “Paisaje con cabaña “, 2013, Series: A second chance to rephrase the question, Wool on canvas, 27 x 37 x 4 cm. Colección privada, Lima. Photo credit: the artist.
- Andrea Canepa, “Paisaje con molino”, 2013, Series: A second chance to rephrase the question, Wool on canvas, 30 x 24,7 x 4 cm. Colección privada, Lima. Photo credit: the artist.
- Andrea Canepa, “Arreglo de flores en cesto”, 2013, Series: A second chance to rephrase the question, Wool on canvas, 25 x 25 x 4 cm. Colección privada, Lima. Photo credit: the artist.
- Andrea Canepa, “Caballo y potro con arbol”, 2013, Series: A second chance to rephrase the question, Wool on canvas, 24,5 x 18 x 4 cm. Colección privada, Lima. Photo credit: the artist.
- Andrea Canepa, “Campesina”, 2013, Series: A second chance to rephrase the question, Wool on canvas, 40,5 x 18,5 x 4 cm. Private collection. Photo credit: Edi Hirose.
- Andrea Canepa, “Plaza con monumento”, 2013, Series: A second chance to rephrase the question, Wool on canvas, 26 x 19,5 x 4 cm. Sammlung Goetz. Photo credit: Edi Hirose.
- Andrea Canepa, “Green Piece(s)”, 2013, Cardboard puzzle assembled from 8 different puzzles, 50 x 70 cm. Private collection, Lima. Photo credit: the artist.
- Andrea Canepa, “Blue Piece(s)”, 2013, Cardboard puzzle assembled from 8 different puzzles, 50 x 70 cm. Private collection, Lima. Photo credit: the artist.
- Andrea Canepa, “Lineas de desplazamiento”, 2014, Tempera and ink on paper, Variable dimensions. Site-specific project. Location: Volta Art Fair, Basel, Switzerland. Photo credit: Nicholas Winter.
- Andrea Canepa, “Unir los puntos”, 2014, Series: Lineas de desplazamiento, Tempera and ink on paper, 98 x 149 cm. Private collection, London. Photo credit: Miguel Ramos Alonso.
- Andrea Canepa, “Círculo Cromático”, 2014, Series: Lineas de desplazamiento, Tempera and ink on paper, 90 x 90 cm. Private collection, London. Photo credit: Miguel Ramos Alonso.
- Andrea Canepa, “Línea de tiempo”, 2014, Series: Líneas de desplazamiento, Tempera and ink on paper, 25 x 430 cm. Photo credit: the artist.
- Andrea Canepa, “Líneas 5”, 2014, Series: Líneas por número / Líneas de desplazamiento, Tempera and ink on paper, 21 x 27,5 cm. Photo credit: Miguel Ramos Alonso.
- Andrea Canepa, “Líneas 10”, 2014, Series: Líneas por número / Líneas de desplazamiento, Tempera and ink on paper, 21 x 27,5 cm. Photo credit: Miguel Ramos Alonso.
Translated from Spanish
In recent years, I have focused on the modern tendency of trying to simplify the complexity of the world with the aim to control that which escapes the limits of our understanding.
We tend to categorize, organize, and administer reality as if it was a set of and independent phenomena, creating a system that we take as natural.
My work stems from the alteration of the order in which information is presented. In some cases this modification uncovers some meanings that used to remain hidden under the imposition of a logic that assumes itself as the “correct one.” In others, by schematizing the information previously schematized, both synthesis systems cancel each other out and return mere forms and colors lacking any functionality.
Through my work, I hope to make evident that the regularity of the world obeys a set of rules that as such, they could have been different. In other words. I hope to point out that all logic of functionality, whatever it is, could be different and thus not necessary in itself.
En los últimos años, me he enfocado en la tendencia moderna a intentar simplificar la complejidad del mundo con miras a controlar aquello que escapa los límites de nuestro entendimiento.
Tendemos a categorizar, organizar y administrar la realidad como si se tratase de un conjunto de fenómenos aislados e independientes, creando un sistema que tomamos como natural.
Mi trabajo parte de la alteración del orden en el que la información es presentada. En algunos casos esta modificación libera ciertos significados que permanecían ocultos bajo la imposición de una lógica que se asume como “la correcta”. En otros, al esquematizar la información previamente esquematizada, ambos sistemas de síntesis se anulan entre sí, devolviéndonos meras formas y colores desprovistos de cualquier sentido funcional.
A través de mi obra, pretendo dar cuenta de que la regularidad del mundo obedece a un conjunto de reglas que, como tales, podrían haber sido distintas. En otras palabras, intento señalar que toda lógica de funcionamiento, sea como sea, podría ser diferente y, por lo tanto, no es necesaria en sí misma.
Selected Biographical Information
Education / Training
- 2007-2008: Master en Artes Visuales y Multimedia, Universidad Politécnica de Valencia, Valencia, Spain.
- 2004-2006: Licenciatura en Bellas Artes, Universidad Politécnica de Valencia, Valencia, Spain.
- 2000-2003: Facultad De Arte, Pontificia Universidad Católica del Perú, Lima, Peru.
- 1998-1999: Estudios Generales Letras, Pontificia Universidad Católica del Perú, Lima, Peru.
Prizes / Fellowships
- 2014: Premio Miquel Casablancas, Sant Andreu Contemporani, Barcelona, Spain.
- 2014: Premio Arco Comunidad de Madrid para Jóvenes Artistas, Comunidad de Madrid, Madrid, Spain.
- 2013: Premio Generaciones, Fundación Caja Madrid, Madrid, Spain.
- 2013: Beca Endesa para Artes Plásticas, Fundación Endesa, Teruel, Spain.
- 2012: Pasaporte para un artista (segundo puesto), Alianza Francesa y Embajada de Francia en el Perú, Lima, Peru.
- 2011: Beca de Formación Pilar Juncosa i Sotheby’s, Fundació Pilar i Joan Miró, Mallorca, Spain.
- 2010: Premio Swab de Dibujo, Feria de Arte Contemporáneo Swab, Barcelona, Spain.
- 2008: Certamen Jóvenes Creadores, Ayuntamiento de Madrid, Madrid, Spain.
- 2006: Valencia Crea, Ayuntamiento de Valencia, Valencia, Spain.
Solo Exhibitions
- 2013: “Ejercicios de Localización”, Galeria L’ Imaginaire, Alianza Francesa, Lima, Peru.
- 2013: “Ejercicios de Localización“, Galería Rosa Santos, Valencia, Spain.
- 2013: “Ornamento y Sistema“, Wu Galería, Lima, Peru.
- 2011: “The Fragile Assembly of Everyday Life”, LAB. Laboratorio de Arte Joven, Murcia, Spain.
- 2009: “El Revés de lo Doméstico”, Galería Rosa Santos, Valencia, Spain.
Group Exhibitions
- 2014: “Generación 2014, Proyectos de arte Caja Madrid”, La Casa Encendida, Madrid, Spain.
- 2013: “As Everything Moves“, Node Center, Berlin, Germany.
- 2013: “Expedición Amazonas”, Galería Pancho Fierro, Lima , Peru.
- 2012: “La tiranía de la intimidad”, Centro Cultural de España, Lima, Peru.
- 2009: “Dibujo: Nuevas Propuestas”, Galería 80m2, Lima, Peru.
Collections
- CA2M: Centro de Arte 2 de Mayo, Madrid, Spain.
- Fundación Caja Madrid, Madrid, Spain.
- IVAM, Instituto Valenciano de arte Moderno, Valencia, Spain.
- Colección DKV Arte y Salud, Valencia, Spain.
- Sammlung Goetz, Munich, Germany.
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.
- 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.
- 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.
- 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.
- 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.
- 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.
- 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.
- 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.
- 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.
- 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.
- Pia Camil, “Tlatelolco: Shot from a balcony”, 2011, still from Video Floor Projection, (00:06:09), Variable dimensions. Photo credit: Courtesy of the artist.
- 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.
- Pia Camil, “Highway Follies”, 2011, Resin and mineral powdered pigment, 150 x 200 cm. Photo credit: Courtesy of the artist.
- Pia Camil, “Highway Follies (study I)”, 2011, Inkjet Print, 35 x 45 cm. Photo credit: Courtesy of the artist.
- 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.
- Pia Camil, “Diagonal Hoarding”, 2008, Painted wooden lengths, Variable dimensions. Photo credit: Courtesy of the artist.
Translated from Spanish
My artistic production in the last few years is the result of working in local contexts.
This is part of a personal position that is derived of questions around artistic representation, the incidence which creative processes have in specific groups and the way in which artists are involved in different realities.
My work seeks to create micro-windows that can reflect concepts such as violence, neglect, resistance, memory, collectivity, or identity.
Mi producción artística de los últimos años es resultado del trabajo en contextos locales.
Esto forma parte de una postura personal que se deriva de cuestionamientos entorno a la representación artística, la incidencia que los procesos creativos tienen en grupos específicos y la manera en que los artistas se involucran con distintas realidades.
Mi trabajo busca crear micro ventanas que reflejen conceptos como violencia, abandono, resistencia, memoria, colectividad o identidad.
Selected Biographical Information
Education / Training
- 2010-2006: BFA, Escuela Nacional de Pintura, Escultura y Grabado, “La Esmeralda”, México DF, México.
Prizes / Fellowships
- 2009-2010: FOCAEM, Programa de Estímulo a la Creación y Desarrollo Artístico del Estado de México, Instituto Mexiquense de Cultura – CONACULTA, Toluca, Estado de México, México.
- 2010-2011: PADID, Programa de Apoyo a la Docencia, Investigación y difusión de las artes, CONACULTA, México DF, México.
- 2013: Primera edición del Laboratorio La Quiñonera, La Quiñonera, México DF, México.
- 2013: FOCAEM, Programa de Estímulo a la Creación y Desarrollo Artístico del Estado de México, Instituto Mexiquense de Cultura – CONACULTA, Toluca, Estado de México, México.
Solo Exhibitions
- 2011: “Bajo el rebozo”, Museo de Arte Moderno, Toluca Edo. Mex., México.
- 2012: “Entre tramas y urdimbres”, Casa de Engracia, Zacatecas, Zacatecas, México.
Group Exhibitions
- 2013: “Vacío contenido”, Escuela Nacional de Pintura, Escultura y Grabado, “La Esmeralda”, México DF, México.
- 2013: “Extraño familiar”, La Quiñonera, México DF, México.
- 2013: “Casa de Engracia, espacio libre de violencia, XXVII Festival Cultural de Zacatecas”, Casa de Engracia, Zacatecas, Zacatecas, México.
- 2012: “Arte 40”, Ciudadela, Ciudad de los libros, México, DF, México.
Links
- Georgina Santos, “33 Acteal inoxidable”, 2008, Found shoes, wood and stainless steel, Variable dimensions. Photo credit: Image courtesy of the artist.
- Georgina Santos, “Adentros”, 2011, Shawls, stones and skeins of yarn, Variable dimensions. Photo credit: Image courtesy of the artist.
- Georgina Santos, “Otra vez la desidia”, 2012, Moth-eaten wool woven and wood, Variable dimensions. Photo credit: Image courtesy of the artist.
- Georgina Santos, “Reflejo de ausencia y espera”, 2012, Wooden rings woven with cotton thread, Variable dimensions. Photo credit: Image courtesy of the artist.
- Georgina Santos, “Diálogos “, 2012, Chairs with woven wool yarn and stones, Variable dimensions. Photo credit: Image courtesy of the artist.
Translated from Spanish
In my work, I use textiles—basically clothing—in order to explore a series of social and personal stereotypes, as well as their relationship with specific cultural codes, by reviewing and reflecting on the current and complex normative structures which define us and from which we participate. A great part of my work involves an analysis on the physical, emotional and social restrictions that are associated with gender roles, in particular feminine stereotypes. With my work, I do not only play with the material and formal possibilities of textile, but I also explore the aesthetic, symbolic, and cultural values of garments, based on deconstruction, re-contextualization or re-aggrupation models which put in evidence the social expectations that they intend to exhibit or cover. Thus I want to make visible the complex and often contradictory relationships we have constructed between the social and the individual, protection and image, beauty and comfort, violence and indifference, men and women, and all the ambiguous intermediate qualities which constitute us but do not necessarily define us.
En mi trabajo uso textiles—básicamente ropa—para explorar una serie de estereotipos sociales y personales, así como su relación con ciertos códigos culturales, revisando y reflejando las complejas estructuras normativas actuales que nos definen y en la que todos participamos. Gran parte de mi obra implica una reflexión sobre las restricciones físicas, emocionales y sociales asociadas a roles de género, particularmente a los estereotipos femeninos. Con mis piezas no sólo juego con las posibilidades materiales y formales de los textiles, sino que exploro los valores estéticos, simbólicos y culturales de las prendas de vestir, basándome en procesos de deconstrucción, recontextualización o reagrupación que evidencian las expectativas sociales que intentan exhibir, o cubrir. Quiero evidenciar así las complejas, y a veces contradictorias, relaciones que hemos creado entre lo social y lo individual, la protección y la imagen, la belleza y la comodidad, la violencia y la indiferencia, los hombres y mujeres, y todas las ambiguas cualidades intermedias que sutilmente nos forman sin necesariamente definirnos.
Selected Biographical Information
Education / Training
- 2010-2013: Doctorado en Educación Artística, Universidad de Concordia, Montreal, Quebec, Canada.
- 2001-1999: MFA en Artes Visuales (Nuevos Géneros), San Francisco Art Institute, San Francisco, California, USA.
- 1999-1998: MA en Artes Visuales (Medios Combinados), Chelsea School of Art and Design, Londres, UK.
- 1997-1992: Licenciatura en Artes Visuales, Escuela Nacional de Artes Plásticas, UNAM, México DF, México.
Prizes / Fellowships
- 2013: Bourse de doctorat en recherche pour étudiants étrangers, FRQSC (The Fonds de recherche du Québec – Société et culture), Montreal, Quebec, Canada.
- 2013-2012: Sistema Nacional de Creadores de Arte (Medios Alternativos), FONCA, Conaculta, México DF, México.
- 2013-2012: Power Corporation of Canada Graduate Fellowship, Universidad de Concordia, Montreal, Quebec, Canada.
- 2012-2010: Beca para estudios en el extranjero, Jumex, México DF, México.
- 2013-2010: International Tuition Fee Remission Award, Universidad de Concordia, Montreal, Quebec, Canada.
- 2010-2008: Sistema Nacional de Creadores de Arte, FONCA, Conaculta, México DF, México.
- 2006: Fomento a Proyectos y Coinversiones Culturales, FONCA, Conaculta, México DF, México.
- 2003: Jóvenes Creadores (Escultura), FONCA, Conaculta, México DF, México.
- 1999-2001: Fulbright-García Robles, SFAI, San Francisco, California, USA.
- 1999-1998: Beca para estudios en el extranjero, FONCA, Conaculta, México DF, México.
Solo Exhibitions
- 2013: “Tendencias Incómodas (Exposición electrónica)“, Museo de Mujeres Artistas Mexicanas (www.museodemujeres.com), México DF, México.
- 2013: “Threads, Trends and Threats“, Maison de la culture de Notre-Dame-de-Grâce, Montreal, Quebec, Canada.
- 2012: “Abiertas/Open“, Galería FOFA, Universidad de Concordia, Montreal, Quebec, Canada.
- 2011: “Affaires Domestiques“, Espacio México (Consulado de México en Quebec), Montreal, Quebec, Canada.
- 2008: “Despuntadas”, Kunsthaus Santa Fé y Galería Hermenegildo Bustos, San Miguel de Allende, Guanajuato, México.
- 2008: “Tela de donde cortar“, Museo del Chopo en el metro , México DF, México.
- 2007: “Me visto, por lo tanto existo”, Museo de la Indumentaria, UCSJ, México DF, México.
- 2003: “Trapitos al sol”, Vitrinas, México DF, México.
- 2001: “Introductions’01“, Galería Paule Anglim, San Francisco, California, USA.
- 2001: “Shirts”, Galería Diego Rivera, SFAI, San Francisco, California, USA.
Group Exhibitions
- 2014: “Déplacé (Performance)”, Art Souterrain, Nuit Blanche, Montreal, Quebec, Canada.
- 2013: “La Fuerza Domesticadora de lo Pequeño“, Kunsthaus Santa Fé, San Miguel de Allende, Guanajuato, México.
- 2012: “100 Curators Collection“, Saatchi Online, UK.
- 2012: “Housework, Gender and Subjectivity“, Reynolds Gallery, University of the Pacific, Stockton, California, USA.
- 2012: “Parasites“, Art Souterrain, Nuit Blanche, Montreal, Quebec, Canada.
- 2012: “Unravelling Threads“, firstsite gallery, Colchester, UK.
- 2011: “Liminal Takes“, Root Division, San Francisco, California, USA.
- 2010: “Superficies del deseo“, MUAC, UNAM, México DF, México.
- 2010: “Tela que cortar“, CELARG, Caracas, Venezuela.
- 2010: “MAMAZ”, Mexican American Cultural Center, Austin, Texas, USA.
- 2010: “Defecto común/identidades en disolución“, Museo del Chopo, México DF, México.
- 2009: “Hecho en casa“, Museo de Arte Moderno, México DF, México.
- 2009: “20 años FONCA 1989/2009“, Biblioteca Vasconcelos, México DF, México.
- 2009: “Sin Centenario ni Bicentenario“, Universidad Iberoamericana, México DF, México.
- 2009: “2a Bienal de arte contemporáneo de Tesalónica“, Museo de Arqueología, Tesalónica, Greece.
- 2008: “Echando flores“, CELARG, Caracas, Venezuela.
- 2008: “Mama´s Art“, Geborgen Kamers, Amsterdam, The Netherlands.
- 2008: “ES2008TIJUANA, V Bienal internacional de Estandartes“, CECUT, Tijuana, México.
- 2007: “3er encuentro de arte del cuerpo”, Galería de Arte Nacional, Caracas, Venezuela.
- 2006: “Altares de muertos”, Muros, Cuernavaca, México.
- 2005: “Nostalgia of the Body“, Firstsite gallery, Colchester, UK.
- 2004: “Segunda Bienal de Yucatán”, Museo de arte moderno, Mérida, Yucatán, México.
- 2004: “An Ambiguous Understanding“, Galería de la Trobe University, Victoria, Australia.
- 2003: “Aparentemente sublime“, Museo de Arte Moderno, México DF, México.
- 2002: “PR’02 (Bienal de Puerto Rico)”, Flexible Packaging Group, Bayamón, Puerto Rico.
Publications
- PAVELA, Ana Maria (2013), “Vingt femmes“, montrealserai.com, July 2nd, 2013.
- EZCURRA, María, “(Un)Dressing Art: Towards a New Feminist Pedagogy of Fashion”, Canadian Art Teacher , 2012.
- MONTERO, Daniel, “María Ezcurra”, Código DF. Arte y cultura contemporáneos desde la Cd. de México, 2010.
- MAYER, Mónica, “Un breve testimonio sobre los ires y venires del arte feminista en México“, Debate feminista, Número 40, Octubre 2009.
- AGUILAR, Guadalupe, “El Arte Participativo. La participación como estrategia creativa en la instalación, el arte de acción y el arte público”, Editorial Universidad Politécnica de Valencia, 2010.
- BERLANGA, Jessica, “8 nuevos artistas desde América Latina: María Ezcurra”, Revista Código 06140, Abril 2009.
- DE LA ROSA, Vic, “Maria Ezcurra: Wear to Art“, FiberArts, Vol. 35, No. 4, Enero-Feb. 2009.
- MOLINA, Carlos, “María Ezcurra en la UCSJ”, ArtNexus No. 67, 2007.
- ELIZALDE, Lydia, “Ficciones Plásticas“, Inventio, UAEM, Año 2 Núm 4, Septiembre 2006.
- MOLINA, Carlos, “Focus: New donations from Mexican artists”, UECLAA Report, Otoño 2004.
- SPRINGER, José Manuel, “IX Salón de arte Bancomer”, Réplica 21, 2003.
- SCHMELZ Herner, Itala, “XX. Reflexionar la violencia”, Curare, primavera 1997.
- REYES Palma, Francisco, “Artefactos del futuro”, Curare, 1995.
Collections
- Hirshhorn Museum and Sculpture Garden, Smithsonian, Washington, D.C., USA.
- Escala (Essex Collection of Art from Latin America), Colchester , UK.
- Museo de Arte Moderno, México DF, México.
- MUAC, UNAM, México DF, México.
- Kunsthaus Santa Fé, Espacio de Arte contemporáneo, San Miguel de Allende, Guanajuato, México.
Links
- Pueg, UNAM
- APT Global
- Fofa Gallery
- Vimeo
- Vimeo
- “Tendencias incómodas” en el MUMA
- “María Ezcurra”, en re-d: arte, cultura visual y género del PUEG-IIE/UNAM
- Arttextum, Tejido de agentes culturales inspirados en Latinoamérica
- Efecto Mariposa / The Butterfly Effect (video)
- Mesera / Waitress (video)
- Maria Ezcurra, “Leopardo Azul”, 2010, Series: Abiertas, Cut and extended female underwear, Un-stitched garments installed on the wall, 60 x 75 x 75 cm.
- Maria Ezcurra, “Leotardo Gris”, 2001, Series: Cuerpo de Trabajo, Fabric and pins. Un-stitched garments installed on the wall, 170 x 150 cm.
- Maria Ezcurra, “Barroca”, 2010, Series: Abiertas, Cut and extended robe, Un-stitched garments installed on the wall, Variable dimensions.
- Maria Ezcurra, “Rosada”, 2010, Series: Abiertas, Cut and extended robe, Un-stitched garments installed on the wall, Variable dimensions.
- Maria Ezcurra, “Voraz”, 2010, Series: Abiertas, Cut and extended blouse, Un-stitched garments installed on the wall, 180 x 150 x 150 cm.
- Maria Ezcurra, “Interior I”, 2012, Series: Abiertas, Cut and extended fur coat, Un-stitched garments installed on the wall, Variable dimensions.
- Maria Ezcurra, “Interior II”, 2012, Series: Abiertas, Cut and extended fur coat, Un-stitched garments installed on the wall, Variable dimensions.
- Maria Ezcurra, “Playera de rayas verdes”, 2000, Series: Cuerpo de Trabajo, Fabric and pins. Un-stitched garments installed on the wall, 90 x 160 cm.
- Maria Ezcurra, “Camisa de rayas rosas”, 2000, Series: Cuerpo de Trabajo, Fabric and pins. Un-stitched garments installed on the wall, 100 x 150 cm.
- Maria Ezcurra, “Mariposa”, 2001, Series: Cuerpo de Trabajo, Un-stitched coat installed on the wall, 60 x 80 x 50 cm.
- Maria Ezcurra, “Invisible”, 2005, Unstitched nylon stockings structure, stretched and joined together, Variable dimensions. Museo de Arte Moderno, México DF.
- Maria Ezcurra, “Open”, 2012, This ongoing textile installation was created through a sequence of collaborative actions. Throughout the duration of the show different people from the Concordia community came to the vitrines wearing a garment specifically chosen to be transformed into a sculpture. Together we transformed the configuration and identity of a collective space through a series of shared individualities, Variable dimensions. Site-specific project. Location: Fofa Gallery, Universidad de Concordia, Montreal, Quebec, Canadá.
- Maria Ezcurra, “Parasites”, 2012, 6 columns made with crinolines. Art Souterrain, Nuit Blanche., Variable dimensions. Site-specific project. Location: Eaton Centre, Montreal, Quebec, Canadá.
- Maria Ezcurra, “Tiempo de espera”, 2008-2009, Weaved graphic that shows all the time that I invested waiting, each month, for a year, Variable dimensions.
- Maria Ezcurra, “Transfigurations”, 2011, Performance and Installation. Colaboration of Tatiana Koroleva, Variable dimensions. Site-specific project. Location: Universidad de Concordia, Montreal, Canadá. Photo credit: Scott MacLeod.
The core of my work lies in the dichotomy between interior and exterior space. I explore the idea of the urban architectural space as a restraint, one that denies both the body and the landscape. Lately I’ve been analyzing how the monumentality and infinity of landscape can relate to our perceptions of the body. My installations are ephemeral; they are intricate and expansive constructions, impossible geometries that are meant to be broken.
La idea que anima mi trabajo se encuentra en la dicotomía entre espacio interior y exterior, así exploro la arquitectura urbana como una limitación que niega tanto el cuerpo como el paisaje. En mis proyectos más recientes he analizado cómo la monumentalidad y lo ilimitado del paisaje natural pueden relacionarse con nuestras percepciones del cuerpo. Mis instalaciones son efímeras; son intrincadas y expansivas construcciones, geometrías imposibles que habrán de romperse.
Selected Biographical Information
Education / Training
- 2009-2011: Master of Fine Arts, San Francisco Art Institute, San Francisco, CA, United States.
- 2002-2007: Bachelor in Fine Arts, Universidad Nacional de Colombia, Bogotá, Colombia.
Prizes / Fellowships
- 2012: Beca para residencia artística, Banff Centre-Ministerio de Cultura, Banff Centre, Ministerio de Cultura, Banff, Bogotá, Canada/Colombia.
- 2010: Phelan, Murphy and Cadogan Fellowship, San Francisco Foundation, San Francisco, CA, United States.
- 2008: Beca Fulbright -Ministerio de Cultura para artistas, Fulbright, Ministerio de Cultura, Bogotá, Colombia.
- 2007: BFA with Honors/ Grado de Honor, Universidad Nacional de Colombia, Bogotá, Colombia.
Solo Exhibitions
- 2015: “The Soft Gesture“, The Wooden Floor – Sayago&Pardon, Santa Ana, United States.
- 2015: “El gesto fuerte, el gesto suave. Estructuras blandas y transformaciones“, Centro Cultural Británico, Lima, Perú.
Group Exhibitions
- 2014: “Después de lo anterior“, Galería Santa Fé, Bogotá, Colombia.
- 2014: “Tránsitos y articulaciones”, Galería Club El Nogal, Bogotá, Colombia.
- 2013: “Nuevos Nombres”, Banco de la República, Bogotá, Colombia.
- 2013: “Periscopio”, Banco de la República, Bogotá, Colombia.
- 2012: “Especies de Espacios”, Galería Club El Nogal, Bogotá, Colombia.
- 2011: “Gridlock“, AC Institute , New York, NY, United States.
- 2011: “Numina Femenina“, Consulate General of Mexico, San Francisco, CA, United States.
- 2011: “Liminal Takes“, Mission Cultural Center, San Francisco, CA, United States.
- 2011: “Artecámara 2011“, ARTBO, Bogotá, Colombia.
- 2010: “Chicas Chicas Chicas”, Art Museum of the Americas, Washington, D.C., United States.
- 2010: “Spoon full of sugar “, Kitsch Gallery, San Francisco, CA, United States.
- 2009: “Chicas, chicas, chicas”, Cámara de Comercio, Sede Kennedy, Bogotá, Colombia.
Collections
- Museo del Banco de la República, Bogotá, Colombia.
- Sayago & Pardon Collection, CA, USA.
- Ana Belén Cantoni, “Caja, dibujo sobre pared”, 2011, Series: Dibujos sobre pared, Yarn, staples and red chalk on wall, 60 x 50 cm.
- Ana Belén Cantoni, “Caja, dibujo sobre pared” (detail), 2011, Series: Dibujos sobre pared, Yarn, staples and red chalk on wall, 60 x 50 cm.
- Ana Belén Cantoni, “Línea horizontal, dibujo sobre pared”, 2011, Series: Dibujos sobre pared, Yarn, staples and red chalk on wall, 22 cm x 8,8m cm. Site-specific project. Location: AC Institute, New York, NY, United States.
- Ana Belén Cantoni, “Mine “, 2011, Red coats frayed, thread and staples, 39 x 167 x 518 cm. Site-specific project. Location: AC Institute, New York, NY, United States.
- Ana Belén Cantoni, “Mine” (detail), 2011, Red coats frayed, thread and staples, 39 x 167 x 518 cm. Site-specific project. Location: AC Institute, New York, NY, United States.
- Ana Belén Cantoni, “EStructura de crecimiento rizomático III”, 2013, Pieces of bed sheets, safety pins, and wooden pegs, Variable dimensions.
- Ana Belén Cantoni, “Estructura de crecimiento rizomático III”, 2011, Pieces of bed sheets, safety pins, and wooden pegs, Variable dimensions.
- Ana Belén Cantoni, “Estructura de crecimiento rizomático II” (detail), 2011, Pieces of bed sheets, safety pins, and wooden pegs, Variable dimensions.
- Ana Belén Cantoni, “El gesto fuerte que todo aquello que es sutil niega”, 2013, Hand-woven copper mesh, black cotton fiber, Variable dimensions. Site-specific project. Location: Banco de la república, Bogotá, Colombia.
- Ana Belén Cantoni, “El gesto fuerte que todo aquello que es sutil niega”, 2013, Hand-woven copper mesh, black cotton fiber, Variable dimensions. Site-specific project. Location: Banco de la República, Bogotá, Colombia.
- Ana Belén Cantoni, “Estructura elástica en rosa y negro”, 2013, Series: De la vida privada de la geometría, Elastic fabric and staples on floor and wall, 170 x 355 x 295 cm. Site-specific project. Location: Banff Centre, Banff, Canadá.
- Ana Belén Cantoni, “Línea “, 2011, All my black clothes, Variable dimensions.
- Ana Belén Cantoni, “Cuerpo Concreto I”, 2013, Series: Cuerpos Concretos, Elastic fabric, staples on floor and wall, and stone, Variable dimensions.
- Ana Belén Cantoni, “Cuerpo Concreto I (Vista de la Instalación)”, 2013, Series: Cuerpos Concretos, Elastic fabric, staples on floor and wall, and stone, Variable dimensions.
Translated from Spanish
Everything is amorphous, confusing. I restlessly look for a bond that integrates with the environment as something inaccurate, not codified. I struggle to give form to these transitory states. B’atz is the name of a day in the Maya calendar that means the beginning and the end, to roll and unroll, to tie and untie. The knot is the bond between beings and their beginnings; it is the union that allows to continue on a certain path. The knot is the articulation between kinfolk and/or enemies which maintains a structure and at the same time creates tension between them. This bond between two or more systems also represents a closure, a forced enclosure that grasps through the ropes and that hinders that liberation of a determined gesture: the knot in the throat that submerges the voice. We are beginning a new era of Maya world view that is associated with important events. Departing from an interdisciplinary investigation, anthropological approximately ten years, in the city as in the rural areas, I began to work in the reengagement of images, forms, codes, moorings, baskets, chests, Quipos, candles, Maya ceremonies, with meanings charged of deep energetic presence that mark the passage of time. I believe in artistic expression as a product of the everyday. I situate myself within this perspective, materializing though ephemeral objects, like a candle that is lit, is consumed and finished. That action indicates time. I propose to reprise ritual elements like candles, bundles or baskets, incense, flowers, and of course, energy, to create art objects. I am interested in constructing, intervening, wither the visible through the occult; from the private to the public.
Todo es amorfo, confuso busco con inquietud un lazo que se integran al entorno como algo inexacto, no codificado, lucho por darle cuerpo a estados transitorios. B’atz es el nombre de un día del calendario maya, que significa el inicio y el final, enrollar y desenrollar, amarar y desamarrar. El nudo es el vínculo entre los seres y su principio; es la unión que permite continuar cierto trayecto. El nudo es la articulación entre los semejantes y/o entre los contrarios que mantiene una estructura y al mismo tiempo la tensa. Este lazo entre dos o más sistemas representa también un cierre, una fuerza de clausura que se empuña por los cabos y que impide la liberación de un gesto determinado: el nudo en la garganta sumerge la voz. Estamos empezando un nueva era en la cosmovisión maya que se asocia con eventos importantes. Partiendo de una investigación interdisciplinaria, aproximadamente 10 años en especial antropológica, tanto en la ciudad como en el área rural comencé a trabajar el reencuentro con imágenes, formas, códigos, amarres, tanates, bustos, quipos, candelas, ceremonias mayas, con significados cargados de profunda presencia energética que marcan el tiempo. Creo en la expresión artística como producto de lo cotidiano. Me ubico en esta perspectiva proponiéndome materializar a través de objetos efímeros, como una candela que se enciende, se consume y se termina. Así tal acción marca el tiempo. Me propongo retomar elementos rituales como candelas bultos o tanates, incienso, flores y por supuesto la energía, para crear objetos de arte. Me interesa construir, intervenir, marchitar a partir de lo oculto a lo visible de lo privado a lo público.
Selected Biographical Information
Education / Training
- 1999-2003: Egresado de la Escuela Nacional de Artes Plásticas, Rafael Rodriguez Padilla ciudad de Guatemala. Miembro del grupo TEI talle estudio investigación con métodos y estudios e investigación interdisciplinaria alrededor del arte contemporáneo dirigido por Roberto Cabrera.
Prizes / Fellowships
- 2012: Mención honorífica en la I bienal indígena intercontinental Mexico D.F., Mexico.
- 2010: Ganador de la II ayudas para la creación artística, centro cultural de España, Guatemala.
- 2005: Finalista de arte latinoamericano Juannio, Guatemala.
- 2003: mención honorifica Helvetas, cooperación Suiza en Guatemala.
- 2002: tercer lugar en el salón nacional de acuarela, ministerio de cultura y deporte.
- 2001: Segundo lugar en pintura, jóvenes+ humanitarios Guatemala.
Solo Exhibitions
- 2012: “B`ATZ`”, Galería Panza verde, Antigua, Guatemala.
- 2012: “P`ICH YA`”, Galería Kilometro Cero, Palacio Nacional de la Cultura Ciudad de Guatemala.
- 2010: “PODERES OCULTOS”, Centro Cultural de España, Guatemala.
- 2001: “MEMORIAS”, salón de exposiciones San Pedro La Laguna, Sololá.
Group Exhibitions
- 2013: “Subasta de arte Latinoamericano Juannio”, SOMA centro cultural Guatemala.
- 2012: “Bienal Indígena Intercontinental”, Museo de arte popular México, Mexico City, Mexico.
- 2012: “Simposio de escultura”, Antigua Guatemala
- 2012: “FIN DE CICLO”, Centro Cultural Hermanos Aguilar, San Salvador, El Salvador.
- 2011: “Subasta de arte Latinoamericano Juannio”, Museo de arte Moderno Guatemala.
- 2010: “XVII bienal de arte Paiz“, Guatemala.
- 2010: “Subasta de arte Latinoamericano Juannio”, Museo de arte Moderno Guatemala.
- 2009: “Subasta de arte latinoamericano Juannio. MORFO Arte joven emergente”, Centro Cultural Metropolitano, Guatemala.
- 2007: “OTRA MIRADA”, Centro Cultural Luis Cardoza y Aragon, Embajada de Mexico, Guatemala.
- 2007: “SHHH”, Centro Cultural de España, Guatemala.
- 2007: “Subasta de arte latinoamericano, Juannio”, Museo de Arte Moderno, Guatemala.
- 2004: “GUATERICA”, Museo del Niño, San José, Costa Rica.
- 2004: “Arte Mixto, Comunicarte”, Museo Santo Domingo, Antigua, Guatemala.
- 2004: “Agua color de vida”, Helvetas, Guatemala.
- 2002: XIII bienal de arte paiz, Guatemala.
Publications
- Catalogo de la I bienal continental de artes indígenas contemporáneas, Mexico 2012
- Catalogos de juannio 2013, 2011, 2009, 2007, 2006 y 2005, Guatemala.
- Catalogo de la XVII bienal de arte paiz, Guatemala.
Collections
- Lars Romer Coppenhague, Denmark.
- Dexter Lelain San Francisco, USA.
- Chris Eaton Antigua, Guatemala.
Links
- Antonio Pichillá, “Nudo”, 2012, Wood and fabric, 48 x 63 in. (122 x 160 cm). Photo credit: Courtesy of the artist.
- Antonio Pichillá, “Nudo”, 2011, Wood and textile, 39 x 28 in. (100 X 70 cm), Guatemala, Photo credit: Courtesy of the artist.
- Antonio Pichillá, “Quipo”, 2004, Wood and textil, 39 x 19 x 1.5 in. (100 x 50 x 4 cm), Guatemala, Photo credit: Courtesy of the artist.
- Antonio Pichillá, “Quetzalcoatl,” 2010, Fabric, 390 x 156 x 19 in. (1000 x 400 x 50 cm), Guatemala, Photo credit: Carlos Lilo.
- Antonio Pichillá, “La piedra del sol”, 2008, Fabric, 39 x 39 x 4 in. (100 x 100 x 10 cm), Guatemala, Photo credit: Courtesy of the artist.
- Antonio Pichillá, “Glifo de kukulkan”, 2010, Stone and paraffin, 11 x 17 x 1.5 in (28 x 43 x 4 cm)., Guatemala, Credit: Rene de Carufel.
- Antonio Pichillá, “Glifo”, 2010, Wood and paraffin, 8 x 11 x 1.5 in. (21 x 28 x 4 cm), Guatemala, Credit: Rene de Carufel.
- Antonio Pichillá, “Lo oculto”, 2005, Wood and fabric, 25 x 25 x 9 in. (65 x 65 x 24 cm), Guatemala, Photo credit: Courtesy of the artist.
- Antonio Pichillá, “El viaje”, 2010, Wood and fabric, 39 x 39 x 10 in. (100 x 100 x 24 cm), Guatemala, Photo credit: Courtesy of the artist.
- Antonio Pichillá, “Anudar y desanudar”, 2012, Oil on canvas, 61 x 71 in. (155 x 180 cm), Guatemala, Photo credit: Courtesy of the artist.
- Antonio Pichillá, “Vida”, 2011, parafina, 12 x 8 x 4 in. (30 x 20 x 10 cm), Mexico, Photo credit: Courtesy of the artist.
- Antonio Pichillá, “Instalando energia”, 2012, Oil on canvas, 24 x 18 in. (60 x 45 cm), Guatemala, Photo credit: Courtesy of the artist.
- Antonio Pichillá, “Instalando energia”, 2013, Oil on canvas, 73 x 43 in. (185 x 135 cm), Guatemala, Photo credit: Courtesy of the artist.
- Antonio Pichillá, “Quetzalcoatl”, 2010, DVD video: 56 sec, Guatemala, Credit: filming and editing: Francisco Quiacain.
- Antonio Pichillá, “Me consume”, 2010, DVD video: 2 min y 16 sec, Guatemala, Credit: filming: Juan Manuel Sepulveda, editing: Francisco Quiacain.
- Antonio Pichilla, “abuelo”, 2013, Stone and artisan fabric, 30 x 20 x 10 cm. Photo credit: Courtesy of the artist.
- Antonio Pichilla, “glifo”, 2011, Stone and parafifn wax, 10 x 30 x 30 cm. Photo credit: Courtesy of the artist.
- Antonio Pichilla, “quipo”, 2014, Oil on canvas and artisan fabric, 100 x 55 x 8 cm. Photo credit: Courtesy of the artist.
- Antonio Pichilla, “quipo”, 2014, Oil on canvas and artisan fabric, 120 x 80 x 10 cm. Photo credit: Courtesy of the artist.
- Antonio Pichilla, “energia”, 2013, Oil on canvas, 200 x 120 cm. Photo credit: Courtesy of the artist.
- Antonio Pichilla, “b’atz’ enrollar y desenrollar”, 2010, Oil on canvas and thread, 114 x 30 cm. Photo credit: Courtesy of the artist.
- Antonio pichilla, “negro anudado”, 2014, Oil on canvas, wood and metal, 107 x 65 x 10 cm. Photo credit: Courtesy of the artist.
My work has grown from visual codes linked to geometric abstraction, where the economic devices of image making are simultaneously an historical set of references and a set of creative tools. Also important in my formation has been the practice of collaboration as I constantly intertwine my own work with the work of others through the organization of exhibitions, group projects, publications, and so on. An example would be installations I have produced with fabric panels; which aim to be drawings that occupy space and also curtains that function as space organizers, as temporary walls that canalize the public’s circulation and perception of space as well as the perception of other possible art works in space. In this sense these installations are both an object of contemplation as well as a functional device, they become exhibition design and flexible temporary architecture: they can be used by other artists or curators. These fabric panels also refer directly to avant-garde movements such as Russian Constructivism or the Bauhaus School, as they intend to recover and restage the modernist ideal of democratization of the art object. In ideal situations they can change their position in space as they are hanged from a stainless steel cable that crosses the exhibition room, they work then as a “curtain” that can actually be moved from one side of the gallery to the other. Another body of work consists in the production of drawings and prints through appropriation. Here I reuse and rearrange previous drawings and prints from sources from the late 50’s to mid 70’s, sources such as Latin American political posters, psychedelic imagery, Japanese graphic design, and book covers of publications ranging from Science Fiction to Mathematics. What unites these images is that they all share the historical context of 1969. They also share a universal graphic language. My appropriation of these pre-existing images aims to investigate their social and symbolic status as well as cross culture references they possibly share. This independent body of work functions then as an historical, contextual and formal counterpart to the spatial and geometric based work; somehow confronting avant-garde with neo avant-garde. I also produce sculptures, or better-said sculptural actions, as they are temporary and fragile constructions that do not last after the exhibition (or that are made only to be photographed). This project was born as an homage and critique to the history of modernism in Latin America. Both independent to European modernism and radical in its relationship to social movements, Latin American modernism is far from consolidated. My sculptures then intend to reflect modernist ideals and simultaneously the fragility of all these ideals. This project is also productively open as the sculptures can be made by me or commissioned to curators, museum staff or other artists, which adds a layer of participation and shared authorship to the project. When the sculptures are produced by other people I ask them to register them. I have also used this project in art workshops with children, opening it up to the pedagogical field. An early example of this multilayered practice would be the creation of the artist-run space Galería Chilena, which operated with no physical space in Santiago (1997-2000) as a nomadic yet “commercial” endeavor. The “gallery” set itself the challenge of creating a critical art market for the post-dictatorial Chilean contemporary art scene.
Traducido del inglés
Mi obra ha crecido de códigos visuales relacionados con la abstracción geométrica, donde los mecanismos económicos de producción de imágenes son simultáneamente un conjunto de referencias históricas y un conjunto de herramientas de creación. Igualmente importante en mi formación ha sido la práctica de colaboración ya que constantemente entrelazo mi obra con la de otros por medio de la organización de exposiciones, proyectos de grupo, publicaciones, etcétera. Un ejemplo de ello podrían ser las instalaciones que he producido con paneles de tela, con el propósito de ser dibujos que ocupan el espacio y también cortinas que funcionan como organizadores de espacio, como muros temporales que canalizan la circulación del público y percepción del espacio, así como la percepción de otras obras en el espacio. En este sentido, estas instalaciones son de igual forma un objeto de contemplación y un objeto funcional; se vuelven parte de la museografía y arquitectura flexible temporal. Pueden ser usadas por otros artistas y curadores. Estos paneles de tela también son referencia directa a movimientos de vanguardia como el constructivismo ruso y la escuela Bauhaus, puesto que intentan recobrar y reinterpretar el ideal modernista de democratización del objeto de arte. En situaciones ideales pueden cambiar su posición en el espacio ya que son colgados de un cable de acero inoxidable que cruza la sala de exposición; entonces funcionan como “cortina” que puede ser movida de un lado a otro. Otro cuerpo de trabajo consiste en la producción de dibujos y grabados de referencias de los años cincuenta hasta mediados de los setenta, como afiches políticos de Latinoamérica, imágenes psicodélicas, diseño gráfico japonés y portadas de publicaciones de ciencia ficción o matemáticas. Lo que une estas imágenes es que todas comparten el contexto histórico de 1969. También comparten un lenguaje gráfico universal. La apropiación de estas imágenes preexistentes tiene como objetivo la investigación de su estatus social y simbólico y las referencias culturales que posiblemente comparten. Este cuerpo de trabajo independiente funciona como una contraparte histórica, contextual y formal de la obra espacial y geométrica, confrontando de alguna manera la vanguardia con neo-vanguardia. También produzco esculturas, o mejor dicho, acciones escultóricas, ya que son construcciones temporales y frágiles que no perduran después de la exposición (o que son hechas sólo para ser fotografiadas). Este proyecto nació como homenaje y crítica a la historia del modernismo en Latinoamérica. Igualmente independiente del modernismo europeo y radical en su relación con movimientos sociales, el modernismo latinoamericano está lejos de consolidarse. Mis esculturas intentan reflejar los ideales modernistas y simultáneamente evidenciar la fragilidad de estos ideales. Este proyecto también es productivamente abierto puesto que las esculturas pueden ser realizadas por mí o comisionadas a curadores, personal del museo u otros artistas, lo que añade otra capa de participación y autoría compartida del proyecto. Cuando las esculturas son producidas por otra gente les pido que las registren. También he usado este proyecto en talleres para niños, abriendo posibilidades en el campo pedagógico. Un ejemplo temprano de esta práctica multifacética podría ser la creación del espacio Galería Chilena, que fue operado sin espacio físico en Santiago (1997-2000) como un esfuerzo nómada y comercial. La “galería” se puso a sí misma el reto de crear un mercado de arte crítico para la escena artística de la post-dictadura en Chile.
Selected Biographical Information
Education / Training
- 1992-1997: Universidad Católica de Chile, Licenciatura en Arte Mención Grabado, Santiago de Chile, Chile.
Prizes / Fellowships
- 2013: CONCURSO CHACO-FINLANDIA / 1ra Mencion Honrosa, Colección Vodka Finlandia, Santiago de Chile, Chile.
- 2013, 2010, 2007, 2004: DIRAC, Ministerio de Relaciones Exteriores, Gobierno de Chile, Santiago de Chile, Chile.
- 2012: DIVA (Danish International Visiting Artists Programme) – Danish Arts Council Committee for International Visual Arts.
- 2009, 2004, 2001, 1999: FONDART, Consejo Nacional de la Cultura y las Artes, Santiago de Chile, Chile.
- 2002: POLLOCK KRASNER FOUNDATION, New York, USA.
Solo Exhibitions
- 2014: Museo Experimental El Eco, México D.F., Mexico.
- 2013: “Arquitectura y amistad”, exposición bi-personal con Johanna Unzueta: Proyectos Ultravioleta, Ciudad de Guatemala, Die Ecke Arte Contemporáneo, Santiago de Chile, and New Capital Projects, Chicago, USA.
- 2012: “Ojos de perro azul”, Galería Nuno Centeno, Porto.
- 2012: “Un puente es un hombre cruzando un puente”, Christinger De Mayo, Zürich.
- 2011: “One day this will all be yours”, Open Source Gallery, Brooklyn, Nueva York, USA.
- 2010: “Hay luz en cada ventana”, Die Ecke Arte Contemporáneo, Santiago de Chile, Chile.
- 2009: “No Dream”, The Shop / Vitamin Creative Space, Beijing, China.
- 2008: “Everything that Begins as Comedy Inevitably Ends as Mystery”, message salon @ Perla Mode, Zürich.
- 2004: “MMUU”, Centro Cultural Matucana 100, Santiago de Chile, Chile.
- 1997: “When a Dog Meets Another Dog”, Galerie Christian Nagel, Colongne, Germany.
Group Exhibitions
- 2014: “Ir para volver”, Bienal de Cuenca, Cuenca, Ecuador.
- 2013: “Ways of Working: The Incidental Object”, Fondazione Merz, Turin, Italia.
- 2013: “Del Buen Salvaje al Conceptual Revolucionario”, Travesía Cuatro, Madrid, Spain.
- 2013: “Thinking and Speaking”, Galerie Nordenhake, Stockholm, Sweden.
- 2012: “Parque industrial”, Galería Luisa Strina, São Paulo, Brazil.
- 2012: “Contaminaciones Contemporáneas, Museo de Arte Contemporáneo”, Universidad de Chile, Santiago de Chile, Chile.
- 2011: “The S-Files”, El Museo del Barrio, Nueva York, USA.
- 2010: “Critical Complicity”, Kunsthalle Exnergasse, Wien, Austria.
- 2010: “The Nature of Things”, The Biennial of the Americas, Denver, CO, USA.
- 2008: “Third Guangzhou Triennial”, Guangdong Museum of Art, Guangzhou, China.
- 2007: “Linea de Hormigas”, A Gentil Carioca, Rio de Janeiro, Brazil.
Publications
- 2012: Gonzalez, Julieta, “Parque Industrial”, texto de exhibición impreso en brochure, Galeria Luisa Strina, São Paulo Brett, Guy, “Memory Traces”, PAN, Santiago de Chile.
- 2011: Lehyt, Cristóbal, “Colonia como modelo de arte critico”, www.artishock.cl
- 2010: Faguet, Michèle, “Never use the word “I” except in letters”, Trapped by Mutual Affection, DIRAC, Santiago/NY.
- 2006: Faguet, Michèle, “A Brief Account of Two Artist Run Spaces”, publicado en Fillip Review #3, Vancouver; y en On Cultural Influence, editado por Steven Rand & Heather Kouris, apexart, Nueva York.
- 2010: Critical Complicity, Julia Moritz and Lisa Mazza, catálogo de exhibición, published by Schleebrügge, Vienna. Ustedes Nosotros: Jovenes Artistas Iberomericanos, edited by Sr. Tata, SEA CEX, Madrid.
- 2006: Copiar el Eden: Arte reciente en Chile, Editado por Gerardo Mosquera, Puro Chile, Santiago de Chile.
- 2010: Kartofel, Graciela, “Biennial of the Americas. The Nature of Things”, Artnexus, No. 78, Volume 9.
- 2008: Draxler, Saskia, “3rd Guangzhou Triennial”, Frieze Magazine, #119, Nov.-Dec.
- 2008: 3rd Guangzhou Triennial, catalogo de exhibición, Guangdong Museum of Arts, Guangzhou.
- 2008: Amir, Yaelle, “Origin and Hélio Oiticica”, www.artslant.com, Marzo 16.
- 2007: Hernández, Edgar A., “Cuestionan Cliché Latinoamericano”, Diario Excelsior, Mexico D.F., Nov. 5.
- 2004: Leslie, Richard, “To be political it has to look nice”, Art Nexus, #52 Volume 3.
- 2011: Artista a Artista, Conversación con Cristóbal Lehyt.
- 2011: Artistas Chilenos en el Museo del Barrio, Macarena Molina.
- 2008: Sunset from the Empire State Building Observatory, fanzine editada por Sezession Wichtelgasse, Wien.
Collections
- Consejo Nacional de la Cultura y las Artes, Gobierno de Chile, Santiago de Chile.
- Museo de Arte Contemporaneo – Universidad de Chile, Santiago de Chile.
Links
- Felipe Mujica, “Hay luz en cada ventana”, 2010, Silkscreen on paper, Variable dimensions (each 100 x 65 cm / 89 x 59 cm). Photo credit: Courtesy of the artist.
- Felipe Mujica, “Psychedelic Book Design (Double Print)”, 2010, Silkscreen on paper (2 impressions), 89 x 59 cm, Photo credit: Courtesy of the artist.
- Felipe Mujica, “Kidnaping a Sculpture”, 2010, Inked wallpaper, Variable dimensions. Message Salon at Perla Mode, Zurich, Switzerland. Photo credit: Courtesy of the artist.
- Felipe Mujica, “Kidnaping a Sculpture”, 2010, Inked wallpaper, Variable dimensions. Message Salon at Perla Mode, Zurich, Switzerland. Photo credit: Courtesy of the artist.
- Felipe Mujica, “Linea de Hormigas (Chile #4)”, 2011, Digital print (photographic record of sculpture in action), Sculpture: Variable, Digital print: 40 x 30 cm. Photo credit: Courtesy of the artist.
- Felipe Mujica, “Linea de Hormigas (Chile #9)”, 2011, Digital print (photographic record of sculpture in action), Sculpture: Variable, Digital print: 40 x 30 cm. Photo credit: Courtesy of the artist.
- Felipe Mujica, “Un puente es un hombre cruzando un puente (Cortinas #3 y #4)”, 2012, Sewing fabric and thread, Variable (installation) each panel approx. 160 x 270 cm. Galerie Christinger de Mayo, Zurich. Photo credit: Courtesy of the artist and Galerie Christinger de Mayo, Zurich.
- Felipe Mujica, “Un puente es un hombre cruzando un puente (Cortinas #5)”, 2012, Sewing fabric and thread, Variable (installation) each panel approx. 160 x 270 cm. Galerie Christinger de Mayo, Zurich. Photo credit: Courtesy of the artist and Galerie Christinger de Mayo, Zurich
- Felipe Mujica, “For and Against”, 2012, Mural painting in three colors (gray, black and yellow), Variable dimensions. Museo de Arte Contemporaneo-Universidad de Chile, Santiago de Chile. Photo credit: Alvaro Mardones – Die Ecke Arte Contemporaneo, Santiago de Chile.
- Felipe Mujica, “For and Against”, 2012, Mural painting in three colors (gray, black and yellow), Variable dimensions. Museo de Arte Contemporaneo-Universidad de Chile, Santiago de Chile. Photo credit: Alvaro Mardones – Die Ecke Arte Contemporaneo, Santiago de Chile.
- Felipe Mujica, “Ojos de perrro azul (Cortina #1)”, 2012, Sewing fabric and thread, Variable (installation) panel approx. 160 x 245 cm. Galeria Nuno Centeno, Porto. Photo credit: Courtesy of the artist.
- Felipe Mujica, “Ojos de perrro azul (Cortina #2)”, 2012, Sewing fabric and thread, Variable (installation) panel approx. 160 x 245 cm. Galeria Nuno Centeno, Porto. Photo credit: Courtesy of the artist.
- Felipe Mujica, “Extrapolasis (#1 & #2)”, 2012, Serigraph on paper, 101 x 65 cm. Photo credit: Courtesy of the artist.
- Felipe Mujica, “Untitled (Curtians #1 & #3)”, 2013, Sewing fabric and thread, Variable (installation) each panel approx. 160 x 270 cm. Galerie Nordenhake, Stockholm. Photo credit: Courtesy of Galerie Nordenhake, Stockholm.
- Felipe Mujica, “Untitled (Curtians #2)”, 2013, Sewing fabric and thread, Variable (installation) each panel approx. 160 x 270 cm. Centro Comercial Mundial-Proyectos Ultravioleta, Guatemala City. Photo credit: Courtesy of the artist and Proyectos Ultravioleta, Guatemala City.
The inspiration for my recent work lies in Brazilian popular culture: its rituals and colours, and processes of patient making that are often based on repetition. This is a culture where materials become infused with beliefs and desires, ritually suffused with the promise of future realisation. Aware of this permeability between the everyday and the spiritual, between concrete matter and intangible memories and wishes, I employ objects as materials that reflect the way desires are ritualized through matter: medical information leaflets and containers, Bonfim wish ribbons and textile fragments become the ground that supports the work, both materially and symbolically. Ingesting medicine and tying knots on Bonfim ribbons are a way of making wishes, and of anxiously awaiting for blessings; fragments of textiles speak of the desire to remember and to be close. In common, these material elements point to the desire of a body that wishes for health, intimacy, love and prosperity; a fragile body that fears mortality.
Influenced by practices of weaving, knotting, tying, cutting, mending, darning, sewing, embroidering and covering, I interweave gestures, rhythms and improvisations based on the repetition of lines and colours. In the Doloridos series, I cover medical leaflets with white gouache, hushing them, and trace horizontal or vertical lines in blue, red, green or yellow. This series is predominantly white, and silent. Ladainhas, on the other hand, is a colourful and vibrant series, in which I use cut paper, Bonfim wish ribbons, textile fragments and colour pencils. It reflects the simple popular geometry of rag rugs and patchwork quilts, but contains voids, around which the lines form grids that resonate as voices in ecstasy or supplication.
These are abstractions where visual perception and bodily pulsation merge. They draw the gaze and invite the viewer to come closer, attracted by what is apparently a rigorous minimalist grid or a rich profusion of colours. As a reward to the attentive and unhurried gaze, the work unveils a surprise – its own materiality and traces of texts from the ribbons and leaflets, now illegible, offer other readings. The work is the white hush that silences words, the interval between voices. It is the colourful voices that cannot be silenced, and intone other words, words that convey belief and desire. The work relates to rituals of cure, purification and protection, and is intended as a materialization of songs of joy and pain.
These works are lamentations and litanies presented as white or colourful geometry.
Traducido del inglés
La inspiración en mi obra más reciente yace en la cultura popular de Brasil: sus rituales, colores y pacientes procesos de elaboración que a menudo se basan en la repetición. Esta es una cultura donde los materiales se funden con las creencias y los anhelos, ritualmente cubiertos con la promesa de realización futura. Al tanto de esta permeabilidad entre lo cotidiano y lo espiritual, entre la materia concreta y las memorias y deseos intangibles, uso objetos como materiales que reflejan la forma en la que los deseos son ritualizados por medio de la materia: folletos y contenedores de información médica, listones de deseos de Bonfim y fragmentos de textiles, se vuelven la base que soporta la obra, de manera material y simbólica. Ingerir medicina y hacer nudos en listones de Bonfim son ambas maneras de tener un deseo y de esperar ansiosamente por bendiciones. Piezas de textiles hablan del deseo de recordar y permanecer cercano. En común, estos elementos materiales apuntan al deseo de un cuerpo que anhela salud, intimidad, amor y prosperidad; un cuerpo frágil que teme a la mortalidad.
Influido por prácticas de tejido, anudado, amarrado, cortado, reparado, zurcido, costura, bordado y recubrimiento, entrelazo gestos, ritmos e improvisaciones basadas en la repetición de líneas y colores. En la serie Doloridos, cubro folletos médicos con gouache, silenciándolos y trazando líneas horizontales o verticales en azul, rojo, verde o amarillo. Esta serie es predominantemente blanca y silenciosa. Ladainhas, por otro lado, es una serie colorida y vibrante, en la que uso papel cortado, listones de deseos de Bonfim, fragmentos de textil y lápices de colores. La serie refleja la simple geometría popular de tapetes de trapo y colchas de retazos, pero contiene vacíos alrededor de los cuales las líneas forman retículas que resuenan como voces en éxtasis o suplicio.
Estas son abstracciones donde la percepción visual y la pulsación corporal se unen. Atraen la mirada e invitan al espectador a acercarse, intrigado por lo que aparenta ser una rigurosa cuadrícula minimalista o una rica abundancia de colores. Como recompensa a la mirada atenta y parsimoniosa, la obra revela una sorpresa: su propia materialidad y huellas de textos de los listones y folletos, ahora legibles, producen otras lecturas. La obra es el blanco silencio que calla las palabras, el intervalo entre voces. Son las voces coloridas que no pueden ser silenciadas y entonan otras palabras; palabras que transmiten creencia y deseo. La obra se relaciona con rituales de sanación, purificación y protección y es concebida como una materialización de canciones de alegría y dolor.
Estas obras son lamentos y letanías presentadas como geometría blanca o de colores.
Selected Biographical Information
Education / Training
- 1996-2001: Bachelor Degree, Gerrit Rietveld Academie, Amsterdam, The Netherlands.
Prizes / Fellowships
- 2002: StartsStipendia – Fonds BKVB-Amsterdam, The Netherlands.
- 2004: BasisStipendia – Fonds BKVB-Amsterdam, The Netherlands.
- 2006: WerkSubsidie – Fonds BKVB-Amsterdam, The Netherlands.
Solo Exhibitions
- 2012: “Pharmacia Deluxe”, Galeria Amparo 60, Recife, Brazil.
- 2010: “Doloridos-Coloridos”, Galeria PILAR, São Paulo, Brazil.
- 2010: “Abstractions to Die For”, Galeria da FAV, Goiânia, Brazil.
- 2009: “Unveil”, TETO Projects, Amsterdam, The Netherlands.
- 2008: “Caio, Felix, Perforations and Cuts”, Galeria VERMELHO, São Paulo, Brazil.
- 2007: Galerie Hein Elferink, Staphorst, The Netherlands.
- 2006: “B.L.U.E”, BalinHouseProjects, London, United Kingdom.
- 2005: Galerie van der Mieden, Antwerpen, Belgium.
- 2003: “White Shirts”, HUISRECHTS, Amsterdam, The Netherlands.
- 2000: “Objeto desejado (e para sempre) ausente – Drawings”, Museu de Arte Contemporânea-MAC Goiânia, Brazil.
Group Exhibitions
- 2012: “Beyond the Body”, WELKUNSTZIMMER Dusseldorf, Germany.
- 2011: “EMBRACED”, GustavsBergs Konsthall, Sweden.
- 2009: “Paper Under the Knife”, Museum of Arts and Design-MAD New York, USA.
- 2008: “SOFT-Autonomous Textiles”, Lands Museum, Linz, Austria.
- 2007: “Hard Candies”, MOTIVE Gallery, Amsterdam, The Netherlands.
- 2007: “2MOVE: Double Movement”, Sala Verónicas/Centro Párraga, Murcia, Spain.
- 2006: “G.E.B.O.R.D.U.U.R.D.”, Textil Museum Tilburg, The Netherlands.
- 2005: “Bock mit Inhalt“, Stedelijk Museum CS, Amsterdam, The Netherlands.
- 2004: “LOSS”,Célio Braga, Iris Einchenber, Suska Macket- Stedelijk Museum Bureau Amsterdam-SMBA, Amsterdam, The Netherlands.
- 2003: “B.L.U.R.”, Stedelijk Museum, Amsterdam, The Netherlands.
- 2002: “Hair Stories”, Adam Baumgold Gallery, New York, USA.
- 2002: “DISPLAY”, Stedelijk Museum, Amsterdam, The Netherlands.
Publications
- Drawing Now (Galerie Hein Elferink, 2011).
- Manifesta Journal – Journal of Contemporary Curatorship- Nr 7 2009/2010 (Mieke Bal).
- Cutting Edges-Contemporary Collage (Gestalten – Berlin) 2011.
- Jenseits Beyond the Body (Weltkunst Zimmer, Dusseldorf – 2009).
- Slash-Paper Under the Knife (Museum of Arts and Design-MAD NY, 2009).
- Exit32 – Estéticas Migratorias – Mieke Bal (Madrid, 2008).
- Célio Braga ‘Deliriously’, Ernst van Alphen, Sharing a common Skin (Staphorst, 2006).
- G.E.B.O.R.D.U.U.R.D (2006 ISBN 90 70680 750) Louise Schouwenberg ‘LOSS’ Braga/Eichenberg/Mackert, ISBN 90-809189-1-1, 2004.
- Stedelijk Museum Bulletim (Nr.06 2004) Loss (Marjan Boot).
- DISPLAY – A proposal for Municipal Art Acquisitions 2000/2001 – Stedelijk Museum Amsterdam.
- Felt/Filz- Arnoldsche Art Publishers, 2000 (peter Schmitt).
Collections
- Textile Museum Tilburg, The Netherlands MAC Goiás.
- Goiânia, Brazil.
- CODA Musem Apeldoorn, The Netherlands.
- Colecão da FAV-UFG-Go, Goiânia, Brazil.
- Marzee Collection, Nijmegen, The Netherlands.
- Fundação Jaime Camâra, Goiânia, Brazil.
- Rotasa Trust Collection, USA.
- Armando Andrade Collection, Peru.
- Chantal van Erven Dorens Collection, Amsterdam/London.
- Collectie Pieter en Marieke Sanders, Aerdenhout, The Netherlands.
- Collectie Sepp Bader, The Netherlands.
- Stedelijk Musem Amsterdam, The Netherlands.
Links
- ‘Slash: Paper Under the Knife’ overview with Chief Curator David McFadden
- ‘Full Blown’, 2004
- SMBA Amsterdam Stedelijk Museum
- Célio Braga, ‘Purple’ (Doloridos), 2011, Fragments of textiles, photography and gouache on medicine leaflets, 125 cm x 125 cm. Image courtesy of Galeria Pilar, São Paulo, Brazil
- Célio Braga, ‘Yellow’ (Doloridos), 2011, Fragments of textiles, photography and gouache on medicine leaflets, 125 cm x 125 cm. Image courtesy of Galeria Pilar, São Paulo, Brazil
- Célio Braga, ‘Vermelho’ (Doloridos), 2010/2011, Fragments of textiles, photography and gouache on medicine leaflets, 125 cm x 125 cm. Private Collection
- Célio Braga, ‘Blue’ (Coloridos), 2010, Wishing ribbons, fragments of textiles and oil on canvas, 100 cm x 100 cm. Image courtesy of Galeria Amparo 60, Recife, Brazil.
- Célio Braga, ‘Grey’ (Coloridos), 2011, Wishing ribbons, fragments of textiles, fragments of photography and oil on canvas, 100 cm x 100 cm. Image courtesy of Galeria Pilar, São Paulo, Brazil
- Célio Braga, ‘Black’ (Coloridos), 2011, Wishing ribbons, fragments of textiles, fragments of photography and oil on canvas, 100 cm x 100 cm. Image courtesy of Elisio Yamada Collection.
- Célio Braga, ‘Untitled’ (Litanies), 2010, Cuts and color pencil on paper, 70 cm x 65 cm. Image courtesy of Galeria Amparo 60, Recife Brazil.
- Célio Braga, ‘Blue’ (Litanies), Blue paper, fragments of textiles, fragments of photography and wishing ribbons on medicine leaflets, 50 cm x 65 cm (irregular). Image courtesy of Galeria Pilar, São Paulo, Brazi
- Célio Braga, ‘Green’ (Litanies), 2012, Color pencil and oil color on cut paper, 120 cm x 120 cm. Image courtesy of the artist.
- Célio Braga, ‘Untitled’ (Litanies), 2011, Wishing ribbons, color pencil and oil color on cut paper, 125 cm x 125 cm. Image courtesy of Galeria Amparo 60, Recife, Brasil
- Célio Braga, ‘Untitled’ (Litanies), 2011, Fragments of textiles and color pencil on paper, 120 cm x 120 cm. Image courtesy of Galeria Amparo 60, Recife, Brasil
- Célio Braga, ‘Untitled’ (Litanies), 2012/2013, Color pencil on paper, 150 cm x 125 cm. Image courtesy of the artist
- Célio Braga, ‘Untitled’ (Litanies), 2012, Color pencil and oil color on paper, 150 cm x 125 cm. Image courtesy of the artist.
- Célio Braga,’Untitled’ (Litanies), 2012, Color pencil on paper, 150 cm x 125 cm. Image courtesy of the artist
- Célio Braga, ‘Untitled’ (Litanies), 2013, Wishing ribbons, fragments of textiles, fragments of photography and color pencil on cut paper, 150 cm x 125 cm. Image courtesy of Galeria Pilar, São Paulo, Brazil.