Program 2011

Collaborators 2011

Eduardo Abaroa, Magali Arriola, Artemio, Mariana Botey, Minerva Cuevas, Ruth Estévez, Anthony Graves, Larissa Harris, Nate Harrison, Carla Herrera-Prats, Anthony Huberman, Miguel Monroy, Nils Norman, Edgar Orlaneita, Gonzalo Ortega, Victor Palacios, Barbara Perea, Vicente Razo, Jorge Reynoso, Tyler Rowland, Cuauhtémoc Medina, Yoshua Okón, Agatha Wara.

Eduardo Abaroa is an artist and writer working in the fields of sculpture, installation and live action.  He has shown his work in major museums in Mexico; LA MoCA, PS1 and ICA Boston in the United States; Reina Sofía Museum in Spain; Kunstwerke, Germany and other important venues in the UK, Canada, France, Korea and other countries. As a writer, he was an art reviewer for the art section of Reforma newspaper, and has written for other important Mexican publications like Curare, Casper, Moho,  D.F. and Codigo 06140. He has contributed texts for exhibition catalogues of important artists related to the Mexican context like Francis Alÿs, Melanie Smith, Pablo Vargas Lugo, Tercerunquinto and Dr. Lakra, among others.  In the early nineties he co-founded the T44 artist run space in Mexico City. He recently directed the 9th International Symposium of Art Theory in Mexico City (SITAC), and is currently course director at Soma.

Magali Arriola is a curator and art critic, currently working as the Chief Curator of Museo Tamayo in Mexico City. As an  independent curator, Magali has organized El dulce olor a quemado de la historia , the 8th Bienal of Panamá (2008) and Prophets of Deceit at the Wattis Institute For Contemporary Arts, San Francisco (2006). Before joining Tamayo’s team, Magali was Chief Curator of Museo Carrillo Gil in Mexico City, curator in residency at Wattis Institute For Contemporary Arts and founder member of group Teratoma and the National Committee of Artistic Industry (CANAIA).

Artemio is a Mexican artist who lives and works in Mexico City. He has studied several courses and workshops at the Centro de la Imagen and the National School of Fine Arts in Mexico City; the New School for Social Research and The Sculpture Center in New York. Artemio has individually shown at Pinta Art Fair, New York, the Queen Nails Annex, San Francisco; LAXART, Los Angeles; the Hayward Gallery, London; Sala de Arte Público Siqueiros, Museo de Arte Carillo Gil and La Panadería in Mexico City. He has participated in several group exhibitions in Mexico, Ecuador, Panamá, Cuba, Brasil, Spain, Korea, and the US among others. Artemio has been recipient of the Jovenes Creadores Grant in two occasions. He is founder and faculty member of SOMA, former director of La Panadería and founder of HCRH.

Mariana Botey is an artist/critic born in Mexico City in 1969. She received her Ph.D. in Visual Studies at the University of California, Irvine, in 2010. She graduated in 2000 with an MFA from the University of California, Irvine Studio Art Department Program; and in 1997 with a Bachelor of Arts from Central Saint Martins School of Art and Design in London, England. Currently she is the academic director of the graduate theory seminar Zones of Disturbance (August 2009-August 2011) at the University Museum of Contemporary Art (MUAC) in UNAM and a research fellow at the CENIDIAP-INBA (national center for research, information and documentation of fine arts). Her experimental video documentaries have been shown at the Guggenheim Museum in New York and Bilbao, The Reina Sofia Museum in Madrid, The San Diego Museum of Art, The Museo Carrillo Gil in Mexico City, Red Cat Theater at the Disney Hall in Los Angeles amongst many other museums, galleries and festivals. Since 2009 she is a funding member of the editorial and curatorial committee of The Red Specter. Lives and works in Mexico City.

Ruth Estévez was born in Spain and currently lives in Mexico City where she is Chief Curator at the Museo de Arte Carrillo Gil. Ruth received a BFA from the Universidad Pública del País Vasco (the Public University of the Basque Country), a MA in Art History from the Mexican National Autonomous University (UNAM), and a MA in Museography from the European Institute of Design in Madrid. She completed her first Phd in Fine Arts at the Complutense University in Madrid and is currently working on her thesis for her PhD in Art History at UNAM. Ruth has curated  individual exhibitions for artists such as Fernando Ortega, Gabriel Acevedo, and Guy Ben Ner. She has also organized several group exhibitions: El horizonte del topo/The Mole´s Horizon. Palais de Beaux Arts, Brussels, Belgium, One Foot Apart. Galería Leme, Sao Paolo, Brazil and co-curated: Proyecto Cívico at the Centro Cultural Tijuana, Frontier: A Sketch for the Creation of a Future Society, Chiapas, Mexico, among others.

Anthony Graves is an artist and writer who divides his time between Elberta, Michigan and Brooklyn, NY. He has exhibited works in New York, London, Mexico City, and Copenhagen in venues such as Artists Space, Århus Kunstbygning, Art in General, the late Oni Gallery, and Gallery St. Vitus. In 2004–2005 he was a fellow at the Whitney Independent Study Program, and in 2009 received his MFA from Cornell University. He is currently a visiting lecturer at Cornell’s College of Architecture, Art and Planning, and was most recently an artist in residence as Camel Collective in Denmark through support from the Danish Arts Council’s International Visual Arts (DIVA) residency grant co-sponsored by Kran Film Collective. He has written on the work of Michael Ashkin and has an essay in the forthcoming book Building Drawing.

Larissa Harris is a curator at the Queens Museum of Art, where she is developing programs to take place during and after QMA’s upcoming expansion, which will add 50,000 square feet to the museum by 2012. Currently she is organizing the first U.S. solo exhibition of Sung Hwan Kim; with artist Jonathan Berger, the first survey of Peter Schumann of the Bread and Puppet Theater; and co-organizing a new residency in Corona, Queens, the largely new-immigrant neighborhood on which the museum borders. The first long-term resident is Tania Bruguera, invited in partnership with Creative Time. From 2004-2008 she was associate director at the Center for Advanced Visual Studies at MIT where she and staff commissioned and produced new work by Michael Smith, Damon Rich/ the Center for Urban Pedagogy (CUP), John Malpede, and Xavier Le Roy; instituted a visiting artist series (Vito Acconci/ Acconci Studio, Miranda July, Judith Barry, Seth Price, Dexter Sinister, and Rachel Harrison, among others); a student residency program; and a residency for Boston-area artists.

Nate Harrison is an artist and writer working at the intersection of intellectual property, cultural production and the formation of creative processes in electronic media. He has exhibited at The American Museum of Natural History, The Whitney Museum of American Art, the Centre Pompidou, The Los Angeles County Museum of Art, and The Kunstverein in Hamburg, among others. He has also lectured at a variety of institutions, including the University of Glasgow, Experience Music Project, Seattle and Volunteer Lawyers for the Arts, New York. Nate earned a Bachelor of Fine Arts from the University of Michigan, a Master of Fine Arts from California Institute of the Arts and is a doctoral candidate, Art and Media History, Theory and Criticism in the Visual Arts Department at the University of California, San Diego. Currently Nate is on the faculty at the School of the Museum of Fine Arts, Boston, and lives in Brooklyn, New York.

Carla Herrera-Prats received her BFA at “La Esmeralda,” in Mexico City, and her MFA in Photography at CalArts, Los Angeles. She has been a participant at the Whitney Independent Study Program in New York. Carla has recently taught at the Cooper Union, the California Institute of the Arts, the School of the Museum of Fine Arts in Boston and the Department of Visual and Environmental Studies at Harvard University. She currently teaches at the Vermont College of Fine Arts and runs Soma Summer. She has shown her work in venues such as Sala de Arte Publico Siqueiros, Darb, MUAC, Centro de la Imagen, Museo Dolores Olmedo, in Mexico City; Centre Vu, Quebec; Artists Space, Art in General, New York; The Contemporary Museum of Baltimore, and Darb, Cairo, among others. She is co-founder of Camel Collective, a group of artists and activists who work together since 2005

Anthony Huberman (b. 1975, Geneva, Switzerland) is a curator and writer based in New York, where he is currently the Director of The Artist’s Institute and a Distinguished Lecturer at Hunter College. Previously, he worked as Chief Curator of the Contemporary Art Museum St. Louis, and Curator of the Palais de Tokyo in Paris, and SculptureCenter in New York, and has organized a wide variety of independent projects around the world. He also directed the education and public programming at P.S.1 Contemporary Art Center, where he initiated WPS1, the museum’s radio station. He has written for magazines such as Artforum, Afterall, Dot Dot Dot, Flash Art, and Mousse, among others, and is a contributing editor to Bomb magazine. With Larissa Harris, he co-directs The Steins, a series of occasional exhibitions and events.

Miguel Monroy born in Mexico City in 1975. He has been producing sculptures, installations, photographs and videos since 2001. His work has been widely shown in Mexico and abroad. In his subversion of everyday objects he attempts to dissolve their meaning by providing them with functions that go counter to their original purpose.

Nils Norman works across the disciplines of public art, architecture and urban planning. His projects challenge notions of the function of public art and the efficacy of much urban planning and large-scale regeneration. His work is informed by local politics and ideas on alternative economic, pedagogical and ecological systems, merging utopian alternatives with current urban design to create a humorous critique of the discrete histories and functions of public art and urban planning. He exhibits and generates projects and collaborations in museums and galleries internationally. He has participated in the Venice Biennale, the Havanna Biennale, the Folkestone Triennial and has completed an artist residency at the Camden Arts Centre in London, and the University of Chicago. He has produced major public art projects for the cities of the Hague, the Netherlands, Trekroner, Denmark and Liverpool, UK. He is the author of four publications:Charing Cross, made in collaboration with clients from The Connection homeless shelter. Charing Cross, London, commissioned by the Serpentine Gallery, London UK, 2008; Thurrock 2015, a comic commissioned by the General Public Agency, London, UK, 2004; An Architecture of Play: A Survey of London’s Adventure Playgrounds, Four Corners, London, UK, 2004; and The Contemporary Picturesque, Book Works, London, UK, 2000. Norman is a Professor at the The Royal Danish Academy of Art and Design, Copenhagen, Denmark, where he leads the School of Walls and Space.http://www.kunstakademiet.dk/more.php?id=174_0_2_0_M41

Gonzalo Ortega received an MA in Kunst im Kontext (Art in Context) from the Universität der Künste Berlin in 2006 and a BFA in Visual Arts from the National University of Mexico (UNAM) in 1996. He is the director of the Museo Universitario de Ciencias y Arte – MUCA Roma, where he has organized the exhibitions: El arca de neón (the arch of neon), 2008; Proyectos para desconstrucción (Projects for deconstruction), 2009; A-B, 2009; and Residual / Artistic interventions in the city, www.residual.com.mx, a collaboration with the Goethe Institut Mexico and the UNAM. He is co-founder and curator of the independent project plusminus7 for the support of Latin American art in Berlin, Germany, together with the German art historian Kirsten Einfeldt and visual artist Angelica Chio. www.plusminus7.net. Gonzalo has edited and contributed in many catalogues such as Residual / artistic interventions in the city, UNAM-Goethe Institut, 2010; MEMORIAS 2003-2006, and 2006-2009, Museo Universitario de Ciencias y Arte, MUCA Roma, 2007; Berlinz. Sprachraum Berlin-Linz, Universität der Künste Berlin and Kunstuniversität Linz, Austria, 2006; Still Life. Naturaleza Muerta, Museo de Arte Carrillo Gil, 2003; Coyote, I like Mexico and Mexico likes me, or just another dead Mexican of American artist Daniel Joseph Martínez, Museo de Arte Carrillo Gil, 2001.

Barbara Perea is a Mexico City-based contemporary art critic and curator, with a special focus on electronic, sound art and video. She has a degree in Art History (Universidad Iberoamericana, Mexico City). In 2001 she co-founded the curatorial collective (id)entity David Perea, with fellow curator Mariana David. As David Perea, they participated in Habitat Sónico, the fourth edition of the Sound Art Festival, at X-Teresa Arte Actual (Mexico City, 2002), organised an artist residency program which included Artur Zmijewski, Pawel Althamer, Jorge Macchi and David Castro, curated five exhibitions, and co-produced two artworks by Santiago Sierra and Artur Zmijewski. From 2003 to 2006 Barbara Perea served as director of  MUCA Roma, in Mexico City (University Museum of Science and Art) where she curated or organized numerous exhibitions. She has published over 50 reviews and essays in the magazines Dónde ir (Mexico City), Artecontexto (Madrid), and Artlies (Houston) and contributed to the following exhibition catalogues:Plataforma Puebla 2006 (Puebla, 2006), Arnulf Rainer: la imagen equivocada (Mexico, 2007) Rafael Lozano-Hemmer: Some Things Happen More Often Than All of The Time (Madrid, 2007), amongst others. With Príamo Lozada, she was artistic co-director of Plataforma Puebla 2006, and co-curator of the Mexican Pavilion at the 52 Venice Biennial, which hosted Some  Things Happen More Often Than All of the Time, a solo show by Rafael Lozano-Hemmer. With Guillermo Santamarina she co-curated Soni(c)loud, as guest curators for the experimental sound festival Radar (April, 2007), and prepared the opening exhibition and acquisitions programme for Laberinto de las Ciencias y las Artes, a science and art museum in San Luis Potosí, Mexico. She has worked as New Media lecturer at CENTRO university, in Mexico City and is currently part of the team of Transitio mx, the Internation Electronic Art and Video Festival.

Vicente Razo (Mexico City, 1971) is a Mexican artist currently based in New York. His work engages in a polemic and critical understanding of art practice as a possibility for cultural resistance and social intervention. He is interested in the intersections between popular culture, politics and art production, therefore his work ranges from museum making, printing ready mades to creating record libraries. Razo studied art in the Universidad Nacional Autonoma de Mexico, received an MFA from New York University and attended the Whitney Independent Studio Program. Razo has presented his work in The Museo de la Ciudad de Mexico, Los Angeles Contemporary Exhibitions, Dispatch New York. He has exhibited in group shows at PS1 Contemporary Art, South London Gallery, Circulo de Bellas Artes in Madrid, Spain, MALBA in Buenos Aires, Argentine, The Pinacoteca do Estado in Sao Paulo, Brazil and Ex-Teresa in Mexico City, among others venues. Razo’s work is in the collection of the Hammer Museum, and at the collection of the MUAC, the institution with the biggest collection of contemporary art in Latin America. His art has been reviewed by the New York Times, Artnews, Artforum, Frieze, and Art Nexus, amongst others. Razo’s work has been highlighted in the anthologies about contemporary Mexican art  New Tendencies in Mexican Art (Palgrave-MacMillan 2004) and The Age of Discrepancies: Art and Visual Culture in Mexico, 1968-1997 (Turner-UNAM 2006). He is the author and editor of the book “The Museo Salinas Official Guide” (Smart Art Press, 2002)

Jorge Reynoso is currently Technical Secretary of the Dirección General de Artes Visuales, located at MUAC (the Museum of Contemporary Art of the Universidad Nacional Autónoma de México). He has been director of the Sala de Arte Público Siqueiros (2007 – 2009), and vice-director of both the Museo de Arte Carrillo Gil (1991 – 1998) and the Museo Universitario de Ciencias y Artes (MUCA, 1998 – 2003). Besides his work as curator and museographer of contemporary art projects, he is professor of Art History at the Escuela Nacional de Pintura, Escultura y Grabado and at Centro, Diseño, Cine y Televisión. Reynoso frequently writes about contemporary art, from academic papers to books for children.

Tyler Rowland Tyler Rowland was born in 1978 in Reno, Nevada and raised in Phoenix, Arizona. Examining concepts of labor and production (physical activity, the hand-made, and the limits of a lone worker) and the movement of matter (raw materials, production/manufacturing, consumption, waste, recycling, gift-giving, and destruction), Rowland investigates the lives of things by transforming these materials into art. Rowland has a BA from Vassar College and an MFA from California Institute of the Arts. He has shown at venues including SAPS (Mexico City), Murray Guy Gallery (NYC), GASP (Boston), ESL Projects (LA), Shoshana Wayne Gallery (LA), More Fools in Town (Turin, Italy), Los Angeles Contemporary Exhibitions (LA), and Eungie Joo’s Six Months (LA). He has taught at Northeastern University, Massachusetts College of Art, Harvard University, and Edward Everett Elementary, and currently teaches sculpture at Vassar College. www.tylerrowland.us

Agatha Wara is an artist and curator currently based in New York, where she is an M.A. candidate at the Center for Curatorial Studies at Bard College. She was born in Lima, Peru and is of Bolivian heritage by both parents. From 2008 to 2010 Wara co-directed the art space Bas Fisher Invitational(BFI) in Miami with artists Naomi Fisher and Jim Drain. At the BFI, Wara initiated the project WEIRD MIAMI which involved a series of artist-led bus tours that aimed to expose the deep and varied year-round cultural depth of Miami in order to challenge the global perceptions of Miami as a superficial Babylon. Wara spent from 2004 to 2008 in Japan developing and directing 101TOKYO, Japan’s first international contemporary art fair, to serve as a platform which creates new channels for international exchange and discourse, particularly between Asian and Western audiences. While in Japan, Wara also curated exhibitions for several Tokyo art spaces including Tomio Koyama Gallery.