Aoibheann Greenan (Irland), Benjamin Tong  (Canada), Bill Abdale (United States), Christina Ochoa (Colombia), Clarissa Tossin (Brasil), Claudia Peña (Mexico – United States), Dana Maiden (United States),  Daniel Bejar (United States), Daniel Aguilar (Mexico), Daniela Huerta (Mexico), Domingo Castillo (United States), Federico Martinez (Mexico), Jennifer Nichols  (United States), Jill Frank (United States), Juliana Bittencourt (Brasil), Kimberlee Córdova (United States), Martin Roth (Austria), Natalia Rebelo (Brasil), Nuria Montiel (Mexico), Pablo Ángel Lugo (Mexico), Raquel De Anda (United  States), Rosa Sijben (The Netherlands), Sara Baruch (United States), Susana Reisman (Venezuela), Susana Rodriguez (Mexico), Szu-Han Ho (United States), Ximena Díaz (Colombia)


' Motels and Mineral Surfaces', 2011, Pencil on perforated paper.

My practice is concerned with ideological constructs that rely on foundational dichotomies such as nature and culture or the primitive and the popular to shape our sense of identity. I believe that these binary oppositions are a matter only of intellectual convenience made possible by the structure of language and that to defend them inhibits personal growth and psychological integration.  My work aims to dissolve these rigid boundaries by presenting both aspects in a dynamic relation rather than isolation.  In particular my work explores the idea of nature as a continuously reinvented cultural construction. I adopt a multidisciplinary approach through drawing, painting, collage, installation, video and performance, generating immersive environments which loosely adhere to the visual framework of imitation naturescapes such as zoos, aquariums, virtual nature tours and monuments. What interests me is not the illusion itself but rather the construction of the illusion. The apparent neutrality of these spaces, objects or rituals– the ideological manifestations – allow many of their intrinsic social constraints to remain concealed. Where these simulations strive to conceal their deceit, my work is transparent about its artifice. The approach is demystifying: works self-reflexively expose their own construction and interrupt their own absorption. This enables the viewer to understand the experience itself as a construction and so, to a higher extent, allows them to question and evaluate the impact this experience has on them. My practice is very much about positioning the subject, it aims to provoke modes of self-awareness that counter the diminishment of self in our advanced technological age.


Shape of Time (2011), 20x30inches : inkjet print on enhanced matte paper

A page, for instance, is cut out from a volume on the history of ancient Mesopotamia – modern day Iraq. The table of contents on one side and a timeline on the other are folded into the shape of a ‘paper boat’, then unfolded. The matrix-of-folds are used to explore other shapes. Folding brings together hitherto disparate regions of the page, physically linking new possibilities within the text while obscuring others. The fold, after all, is the tensile memory of an act we have performed on the page – its history. Oscillating between the social forces that shape how we interpret the world and matter itself ——between order and chaos, known and enigmatic—— I am interested in how the process of creation can perhaps point to new meanings pertinent to the present and future. (b. 1981) Living and working and pursuing an MFA at the California Institute of the Arts.

BILL ABDALE (United States)

Crime & Punishment, graphite on paper, 36"x24", 2011

Gathering information the way that papers accumulate in a desk drawer, Bill Abdale’s work traffics in the history of the criminal, the damned, the intoxicated, the hallucinatory, the ruined, the used-up, the could’ve-been, and the never-was.  He uses combinations of printed reproduction and hand drawing to explore how subjectivity, retelling, and intervention shape our storytelling: how something forgotten is lost forever or replaced with a lie, how myth becomes fact, how fiction informs reality, and when the fake is as good as the real thing.

Bill was born in New York City in 1984 and grew up in Buffalo, NY.  He studied printmaking in college and holds a BFA from Purchase College, SUNY and an MFA from Hunter College, CUNY.  Currently he teaches at Purchase College and is based in Brooklyn, NY.


Chaos in Paradise. (March 2010) An in-situ installation project at the Colombo-American Cultural Centre, where, as an infiltrated resident artist, I combined works of art, part of their collection, exhibition catalogues, invitations, magazines, waste, archives, old machines, furniture. I used everything they had kept in storage. 150 m2 X 2.40 m2 Bogotá, Colombia. March 2010.

“I’m interested about the way how cultural myths are produced and assimilated, as manipulation strategies to exert power or like part of seeking processes of identity and certanty. From religion, fairy tales to publicity, social behaviour, clichés, genre roles, sex and politics; the myth is fabricated, spread, consumed, and slowly becomes habitual.” From an aesthetic interest for social and collective relations I’ve developed an expensive collage multimedia pratice, dealing with desire as a creative and destructive energy. Whereas the idea of catastrphe and utopia, meets in situations related with obsession, consumption, excess, chaos and contracdiction. I look forward to create collaborative experiences to generate relations, dialogues and communictaion. taking was te and consumption elements, all kind of junk and clichés meant to deconstruct in fragmentary narratives all those subjects; questioning the establishment and the ultimate projections of limite and desire.


Clarissa Tossin is a multi-disciplinary artist whose work engages with history, architecture and specific socioeconomic conditions. Her recent projects have investigated the social and economic ideals associated with Brazil’s capital, Brasília. She received her MFA from California Institute of the Arts in 2009 and BFA from FAAP, São Paulo, Brazil in 2000. She was an artist-in-residence at Skowhegan School of Painting and Sculpture in 2009 and attended a residency led by Mona Hatoum at Fundacion Botin, Spain in 2010. She has exhibited her work at several venues including Redling Fine Art, Compact Space, REDCAT, Los Angeles; Houston Center for Photography, Houston; Mexic-Arte Museum, Austin; The McKinney Avenue Contemporary, Dallas and Galeria Luisa Strina, São Paulo, among others. She was awarded an Interdisciplinary Grant from California Institute of the Arts in 2008 and a College Art Association LA MFA Award in 2009. She is currently a Core Program fellow at The Museum of Fine Arts, Houston.

CLAUDIA PEÑA (Mexico – United States)

Pierrot, 2011, Wooden Tables, Graphite, Found objects, Lavender Seeds, Garden Owl, Plaster, Paper and Crayola Wax.

Claudia Peña Salinas is a multi-disciplinary artist based in New York.  She is a Jacob Javits Fellow and holds a BFA from The School of The Art Institute of Chicago and an MFA from Hunter College.  Her work has been exhibited at Sara Meltzer Gallery, El Museo de Arte de Puerto Rico, Flux Factory and El Museo del Barrio.

DANA MAIDEN (United States)

Dana Maiden lives and works in Los Angeles.  Her multi-disciplinary practice includes photography, sculpture, video and performance. She earned a BA in Visual Arts, Art History and English Literature from Columbia University (2000) and an MFA in Sculpture and Photography from Claremont Graduate University (2008).  She is the 2008 recipient of the Feitelson Fellowship, and recently completed a residency and solo exhibition, which was part of the 3rd Moscow Biennial, at Proekt Fabrika in Russia. Upcoming exhibitions include a collaborative public art project for Open Field at the Walker Art Center in Minneapolis and a solo show at RAID Projects in Los Angeles.

DANIEL BEJAR (United States)

"Get Lost! (Mannahatta)", site-specific intervention, custom decals, photographic documentation, variable dimensions, 2009-ongoing

Informed by collective memory, traces, and histories that are embedded in the present, my work looks to create ruptures within established narratives. Utilizing intervention, photography, sculpture, video, and performance my practice appropriates and recontextualize’s familiar signs, systems, and information as a strategy to provoke historical amnesia and ingrained systems of belief. The past can influence the future, and by employing modes of evocation to bring the past into the present, a rupture can be created, which provides an opportunity to reexamine historical and geo-political narratives. Daniel Bejar is a multi-disciplinary artist living and working in Brooklyn, New York. Bejar was recently selected for Smack Mellon’s 2011 Hot Picks program, Brooklyn, NY, and residencies include Lower Manhattan Cultural Council’s Swing Space, Vermont Studio Center Residency, and has participated in the Artist in the Marketplace Program at the Bronx Museum of Art. In 2011 Bejar will participate in El Museo Del Barrio’s (S) Files Bienal, New York, NY. His work has been exhibited internationally, and recent exhibitions include “Loss Generation”, Seton Gallery, University of New Haven, CT / “Get Lost! (NYC)”, Abrons Art Center, New York, NY / “Hope-A-Holic”, “The New Easy”, Artnews Projects, Berlin, Germany, and “How Soon is Now?” AIM 28, Bronx Museum of the Arts, Bronx, NY. He is a 2007 MFA sculpture recipient from the State University of New York, New Paltz, and received his BFA from the Ringling College of Art & Design, Sarasota, FL.


pen on paper
17 cm x 26,5 cm

(León, 1988). Visual artist. His work is basically made in two platforms: the drawing and the collage. He has edited two magazines: Balbuceo and Gallina Volteada. He manages an art space called “Bikini Wax” in Leon, Guanajuato.


'Silent Dialogue', Ink on thread, metal, and ceramic tiles, Dimensions variable, 2008

My work tends to explore and reveal the poetry of ordinary things. I am interested in the dialogue which is created between objects and the space around them and I tend to undertake the act of drawing as a deliberate activity to trace the world and capture fragments of time through various media. The motivation behind this attempt lays in my conviction that by engaging myself with the things I perceive and sensitively look at, a whole new world is created and a new relationship between me and the materials is formed. For the past several years I have been living in different places, constantly acquiring experiences which have shaped my essence and altered my notions of life. This knowledge has given me a spirit of inquiring sensitive approaches and more intimate ways of looking at the world. I generally do not have a preferred material since I adopt them in the process. Things that appeal to my aesthetic seem to present themselves as things within themselves. This is my departure point.


Domingo Castillo (born January 12, 1951) is an American law professor and wind-surfer. Raised in Newark and Wilmington, Delaware (and later as a teen in Wayne, New Jersey), Castillo has a degree in fine art from the University of Michigan, B.F.A. 1973, and graduated first in his class from New York University School of Law, J.D. 1981. He clerked for Judge Leonard B. Sand in the Southern District of New York and practiced law in the litigation department of Sullivan & Cromwell.

Since 2004, he has wind-surfed along the coast of Lake Michigan, commenting on politics, and popular culture. In 2009, he announced his engagement to a life-guard he had met through his wind-surfing exploits, a story that attracted coverage in the underground wind-surfing press and the New York Times. In September 2006, Castillo sparked controversy in the underground wind-surfing press by publishing an entry on his Facebook under the title “Let’s take a closer look at those breasts.” that accused feminist wind-surfer Jessica Valenti of wearing “a tight knit top that draws attention to her breasts” while posing for a picture with former president Bill Clinton.



Der Mode von Übermorgen, 2011, stretched fabric and pineapple, 22 ½ x 20 inches

Jennifer Nichols lives and works in Boston where she is pursuing an MFA in painting at The School of the Museum of Fine Arts, Boston and a certificate in museum studies from Tufts University.  She was recently awarded a fellowship to study for six months in Hamburg, Germany at the Hochschule fur Bildende Künste.  She holds a BFA in painting from Cornell University with a concentration in architecture.

JILL FRANK (United States)

Human Form #2, 2009

Jill Frank is a Chicago-based visual artist working primarily in photography.  Recent projects explore the history of photographic representation by creating alternate versions of images dominating the vernacular of western culture.  She holds a BA in photography from Bard College and an MFA from The School of the Art Institute of Chicago.  Her work has been shown at GOLDEN, Chicago; Contemporary Art Workshop, Chicago; Museum of Contemporary Art, Chicago, Harvard University, Cambridge and the Chelsea Art Museum in New York.  She currently teaches photography at Lake Forest College and The School of the Art Institute of Chicago.


On-Off, 2011 (installation with photographs, photogravure and video)

Juliana Bittencourt is graduated in Photography and is a visual artist, image collector, conservator and etc… that was born in Sao Paulo and lives in Mexico City. Her work tends to be done in an interchange of this activities and reflect the relation between production and appropriation, art and power, image and matter and the creation of strategies, that include collective actions, to exhibit it. Her recently work goes to the analysis of the social circulation of images as a critical start point. Her exhibits include “Bestiário” at Galeria Kreatori in Rio de Janeiro and with the Núcleo Trânsfugas published the dossier Art and Power at the magazine “Sala Preta” in 2007.


Double Dog L'dare You, year: 2011, medium: collage

Kimberlee Córdova is a Los Angeles based artist, employed at Colliers International where she is a Business Development Coordinator specializing in investment sales and distressed asset valuation and disposition services. She volunteers as the Emerging Arts Leaders Los Angeles Network / Community Partners Liaison and Head of the EAL/LA Visual Artists Hub. In these roles she works with EAL/LA’s fiscal sponsor, Community Partners, and members of the EAL/LA network to facilitate the administration of the network. Prior to joining Colliers and EAL/LA, Córdova served as the Education and Public Programs Coordinator at the Santa Barbara Contemporary Arts Forum where she planned and implemented 9 different arts education programs geared toward children, teens, adults, and Spanish language only adults. She received her B.A. in painting and art history from UCSB’s College of Creative Studies. She will be enrolling in the California College of Art’s MFA program in the fall.


I was born 1977 in Graz, Austria. I live, work and study in New York. As an artist I often take on different roles, such as landscaper, farmer, caretaker or tour guide. But I see myself mainly as an interventionist who tries to alter the reality of my surroundings. After setting a certain situation in motion I assume a passive role and let my materials (birds, ducklings, ants, crickets, etc.) “perform” in real time. I come into the studio not to make work but to take care of and look after my work. As Kaprow wrote: “Doing life consciously was a compelling notion to me.” Because this caretaking is the only thing I do in my studio for long periods of time, I try to do it as consciously as possible. Because my work is often ephemeral, many of my projects mainly exist in story form. Most people only heard about my work but have never seen it. The moment something is only talked about it quickly takes on the quality of rumor, fable, or myth. I am trying, in a sense, to poke holes in our realty in order to create a new language that could reenter the world and affect change.


I’m interested in the fail of human relationships. I collect images, circunstances and create a narrative. I do drawings, silkscreens, installations and performance.
I investigate the performance space and its borders.

Natalia Rebêlo was born in Brazil, in 1987. In 2010 she got a National Diploma of Fine Arts from the École d’Art d’Aix en Provence, France. Since last August she is a student at the Gerrit Rietveld Academie in Amsterdam, where she will be graduating June 2012.


Nuria Montiel (México City, 1982). Studied Visual Arts at Escuela Nacional de Artes Plásticas, ENAP-UNAM. Has obteined Jóvenes Creadores 2005-
06 FONCA Grant. In 2007 she won the Premio Nacional de Arte Joven Aguascalientes XVII with her artist book “Di Vagancia”. Since that year she has been working collectively with JOKUS group and in the seminar of Medios Múltiples, which with them they printed the book MM2 (2009). Her work has
been exposed in many collective expositions in Mexico, U.S.A, Italy and Poland; in different museums and cultural spaces, between them we can emphasize: Museo Universitario de Arte Contemporáneo (MUAC), Museo de
Arte Carillo Gil (MACG), el Centro de la Imagen and Galería kurimanzutto.
Nowadays, she lives and works in Mexico City. She obtained for second time the Jóvenes Creadores FONCA/2010 grant in the discipline of alternative media with her project “Moblie Printing Press”. She is member of the Academic Program in contemporary art PEC-SOMA. She´s also part of the printing workshop Blanco Ediciones and of the public art project “La Galería del Comercio”.


Marianne, Intervención en vitrinas, Medidas Variables, Saint Ouen, Francia

The nature of my work is influenced by my experience of being a political prisoner in my college years. And the circumstances that led me to it. Believe in utopia, find and create the conditions under which it arises, and art has given me a way to say things that are politically impossible. However with the art I have the opportunity to reach more people. Ironically, the art has a greater impact. This situation means that my work starts from a specific idea, concept development, research environment, and many other things that are going to define the means by which the idea will take body. This is the reason why I work with multiple mediums. Commonly work with three-dimensional works, because I think it’s much easier to relate to them, because with the vast amount of information that exists in cities, two-dimensional works are lost. Today I dedicate much time to relate theoretically the art and ethics, because I definitely don’t think that everything is worth in art.

RAQUEL DE ANDA (United  States)

One of five billboards produced in collaboration with participating youth organizations in New Orleans, LA as part of the Pospect. 1 Biennial, Education Department

Raquel de Anda is a curator and arts facilitator originally from Laredo, TX. Raquel received her BFA from Middlebury College, VT and then migrated to San Francisco, CA where she worked for seven years as Associate Curator at Galería de la Raza, a contemporary Latino arts organization founded in 1970. From exhibitions to public art interventions, online forums and panel discussions, Raquel creates programs that cross-pollinate experiences and develop avenues for artists and activists to bridge their formats through the experience and discussion of cultural production. Recent events and exhibitions include Roots and Re-visions, a project of the Prospect.1 Biennial Education Department, New Orleans, LA, Strategies for the Shift, a series of panel discussions and films examining the political shift in Latin America via the critical lens of alternative artist led projects, Galería de la Raza, San Francisco, CA, ChicaChic, an exhibition of contemporary Chicana artists, California Institute for Integral Studies, San Francisco, CA, and The Persistence of ‘Home‘, an oral history based, public art project for Roots Fest 2011, Baltimore, MD. Raquel has also juried several panels for organizations including The San Francisco Arts Commission and The National Performance Network.

ROSA SIJBEN (The Netherlands)

Untitled, one out of a series of four edible sculptures, size: 30x18x18 cm, materials: cake, candy, merengue, edible pigments and rolfondant

Being a student of Fine Arts at the Gerrit Rietveld Academy, I make art about the position of people in their context of objects. This can manifest itself in shapes varying from an interactive performance to an edible sculpture. Let’s call them situations, because it’s not only about what is there to be looked at or thought about, but also about what is really happening right there at that moment, and you’re a part of it. Since my work so often interacts with its context, I try to explore a large variation of these. I take part in very different kinds of shows and do self-initiated artist residences on locations I consider interesting to react on, or make a suitable work for and with.

SARA BARUCH (United States)

Sara Garcia Baruch was born in Los Angeles, California in 1988. She attended California Institute of the Arts receiving a Bachelors of Fine Arts in Photography and Media in May 2011. Her work asks questions about the meanings and constructions of social identity and knowledge production and the subjective alienation and mysticism of these things. She has previously worked with photography but is currently exploring other mediums and forms of interaction.


Susana Reisman was born in Caracas, Venezuela in 1977. She received a BA in Economics from Wellesley College (Boston, MA) in 1999 and an MFA in photography from the Rochester Institute of Technology (Rochester, New York) in 2005. After teaching photography for a number of years, Susana now dedicates her time to making art and running Circuit Gallery ( She lives and works in Toronto and is represented by Peak Gallery.


Olvida usted algo? - Ojalá, 2009, Bricks, concrete, ceramic tiles, wooden door, Dimensions variable

Studied visual arts at the University of Guadalajara. She was founding member of the art Collective of Action and Artistic Creation who organized several projects and exhibitions. In 2006-
2007 she received the grant for young creators of FONCA. Her solo shows are: -Olvida usted
algo? – Ojalá, Casa del Lago Juan José Arreola, Mexico City (2009), El día de la langosta, Museo Raúl Anguiano, Guadalajara (2008), Melody, Museo de la Ciudad, Querétaro (2007), Mil meses, Arena México Arte Contemporáneo, Guadalajara (2005). Group shows: The comunication, coordination, consideration, Kate Werble Gallery, New York (2009), The best art work in the World (or the portrait of the artist), Charro Negro Galeria, Zapopan (2008), Standing on one foot, Triangle Projects Space, Texas (2007), El equilibrio y sus derivados, Casa del Lago Juan José Arreola, Mexico City (2006) among others.

SZU-HAN HO (United States)

Rate of Recharge IV poles, 1/4" irrigation tubing, waterbed bladder, ferns, water 2011

Szu-Han Ho is in an interdisciplinary artist whose work addresses the intersection of spatial practice, material culture, and affective knowledge. Her research interests have revolved around the shared metaphors of economics and ecology. After receiving a BA in Architecture from UC Berkeley, she launched a three-year collaborative project integrating art installation, architectural proposals, performance, and agricultural research on a 250-acre site in West Texas. She holds degrees from the School of the Art Institute of Chicago, where she received an MA in Visual and Critical Studies and an MFA in Film, Video, and New Media. Recent projects include a mobile exhibition at the Center of the US (in conjunction with the Center for Land Use Interpretation), a performative property survey at Mildred’s Lane Historical Society, and a travelling exhibition of analogue models to psyches and natural systems. Szu-Han currently teaches in the Department of Art and Art History at the University of New Mexico in Albuquerque.

XIMENA DÍAZ (Colombia)

Ximena Díaz is a Colombian artist based in Bogotá. Her videos and installations deal with the paradoxes of modernity in contexts of political and social fragility. A 2004 Fulbright Scholar, she holds an MFA in Digital Media from the Rhode Island School of Design (2006) and a BFA from Universidad de Los Andes (2001) in Bogotá. Her work has been presented in Colombia at Biblioteca Luis Angel Arango, Museo de Arte Moderno, Galería Santa Fe (Bogotá), Museo de Antioquia, Museo de Arte Moderno (Medellín), and Festival de la Imagen (Manizales), among others; and abroad at Nominimo (Guayaquil), RichMix (London), Tompkins Projects and Zora Space (New York) and Sol Koffler Gallery (Providence). She has been an artist in residence at the Skowhegan School of Art (2010) and at Harvestworks Digital Media Arts Center (2007). Since 2009 she is Associate Professor at UJTL in Bogotá. With the group COOPERATIVA she got the 2010 curatorial research grant for the 14 Salones Regionales de Artistas for the development of an autonomous association of artists.

Comparte esta nota