SOMA Summer 2013: July1 – August 9th, 2013.
Though not exclusively, workshops and seminars during SOMA Summer 2013 focused on the re-performance of history. Through examination of performance and its mediation (photo, video, and other forms of documentation), the group explored the ways in which narrative, appropriation, fact/fiction and other devices simultaneously question and shape ideological subject positions both within individual and mass consciousness. Conventions of storytelling, archival research and the role of memory all configured into group discussion.
WEEK 01 – Mon Jul 01st to Fri Jul 05th
Group Critique: 12-hour group critique with Carla Herrera-Prats Two sessions will familiarize students with each other. Participants will give 15-minute presentations of their work. Group discussion will address the social, political and aesthetic implications raised by each piece.
Off sideDF: 6-hour site-specific workshop with Eduardo Abaroa (Wed Jul 03th and Fri Jul 05th) Workshop will take place in non-academic locations around Mexico City: National Museum of Anthropology, Tamayo Museum and Tlatelolco. By getting to know our surroundings and their history, we will reflect and discuss the concepts related to site-specificity and the possibilities of art to comment on specific cultural, political, social and geographical situations.
Miércoles de SOMA: Enrique Méndez de Hoyos
Studio Visit: Eduardo Abaroa Individual critiques with: Eduardo Abaroa, Anthony Graves, Carla Herrera-Prats, Yoshua Okón, Luis Felipe Ortega, Raul Ortega.
WEEK 02 – Mon Jul 08 th to Fri Jul 12th
Re-Live, Re-Enact, Re-Perform: 9-hour seminar with Coco Fusco This seminar will focus on recent debates about artists delegating actions to others to create performance, artists reproducing works by others as performance, and artists re-enacting historical events as performance. Works considered: Sharon Hayes, Marina Abramovic, Jeremy Deller and Santiago Sierra and texts by Claire Bishop, Hal Foster, Shannon Jackson, Amelia Jones and others.
Miércoles de SOMA: Coco Fusco
Studio Visit: Yoshua Okón
Individual critiques with: Magnolia de la Garza, Anthony Graves, Coco Fusco, Carla Herrera-Prats, Graciela Kasep, Alejandra Labastida, Tyler Rowland, and Paola Santoscoy.
WEEK 03 – Mon Jul 15 th to Fri Jul 19th
Performance’s Incorporation: 9-hour critical theory seminar with Mariana Botey and Amy Sara Carroll Thinking about the politics of location, in this 9-hour seminar, we will explore performance’s incorporation or absorption into a range of inter-American conceptual –isms. To be clear: our focus on “incorporation,” with any luck, will allow us to circumvent, but also acknowledge (neo)liberal and humanistic accounts of identity and difference, to enjamb nationmarket performativities into our assessments of the aesthetics’s use and exchange value (in a manner that acknowledges the de- and neo-colonial). Departing from the story often told in U.S.-based Performance Studies, which narrowly falls back on identitarian narratives, we will work to eschew the fetishization of the body as a transparent signifier of the subject and/or intersubjectivity (because, ironically it doesn’t accord the medium the interiority or presence of mind to even think the conceptual). Simultaneously, we’ll strive to sidestep the terms forwarded in reductionist debates that posit a “relational” aesthetic unnecessarily in solely (Western) art historical terms (because multiple 1968s teach us to account for the tics of site specificity as well as the tick of periodization). In our discussions, reference materials, and exercises, we’ll turn to the messier realms of the interobjective, the body, the nation, the commodity/logo as objects/ready-mades that return as “critical fetishes” in post-cotemporary artivist, hybrid, socially engaged inter-mediated practices. And, to that end, our privileged ‘case study’ will be 1990s Mexico (its embrace and distanciation from orphaned moniker of ‘performance’), its now dispersed fragments (including SOMA and the “we” of Carroll/Botey doubled-voiced performance).
Miércoles de SOMA: Mariana Botey and Amy Sara Carroll with Ricardo Dominguez
Studio Visit: Galia Eibenschutz
Individual critiques with: Magalí Arriola, Mariana Botey, Amy Sara Carroll, Irving Dominguez, Ricardo Dominguez, Galia Eibenschutz and Carla Herrera-Prats.
WEEK 04 – Mon Jul 22 nd to Fri Jul 26th
So what do I expect?: 9-hour seminar with Gerard Byrne The seminar will focus on the ambitions and capacities of artistic practice to engage with questions beyond its own ontology, when located within the parameters of the gallery. Lead by an artist with a partisan interest in particular / peripheral aspects of the question, the orientation of the discussion will be directed to questions of temporality, and in particular, the image of the past in the present tense of the gallery.
Miércoles de SOMA: Gerard Byrne
Studio Visit: Enrique Ježik
Individual critiques with: Eduardo Abaroa, Etienne Bernard, Gerard Byrne, Anthony Graves, Carla Herrera-Prats, Enrique Ježik, Yoshua Okón, Luis Felipe Ortega, and Raul Ortega.
WEEK 05 – Mon Jul 29 th to Fri Aug 02nd
Theaters of Memory: 9-hour seminar with Carmen Cebreros Urzaiz
Memories become embeded in spaces and objects, but memory is not only thought. Its activation relies in touch, contact and movement. How objects come to inhabit our lives, how they sit in our spaces, and which uses they acquire are all performed actions upon them. Houses that become museums are sets that invitate to invoke the presence of a character who invented him/herself through the images and objects he/she collected and the way they came to live together. The seminar will analyze strategies in artistic production where objects, spaces and their associations function as autobiographical strategies, or possibilities for a script —ultimately, to be performed by somebody else.
Special Workshop: People’s United Nations (pUN): Run-through (Mon Jul 29th and Tue Jul 30th – 10:00 am to 1:00 pm) – Pedro Reyes and Larissa Harris.
Special Lecture: Lasse Lau.
Miércoles de SOMA: Vincent Normand
Studio Visit: Enrique Mendez de Hoyos (on Friday August 02nd).
Individual critiques with: Helena Chávez, Etienne Bernard, Carla Herrera-Prats, Lasse Lau, Enrique Mendez de Hoyos, Víctor Palacios, Bárbara Perea, Tyler Rowland
WEEK 06 – Mon Aug 05 th to Fri Aug 09th
Preparation for Open Studio Last comments with: Vincent Normand.
Special Lecture: Pascal and Monoplis (Aug 06th – 5:00 pm) – Adam Kleinman.
Miércoles de SOMA: SOMA SUMMER OPEN STUDIOS The Open Studios will be coordinated by Vincent Normand – Wed. Aug. 07th
Visit on Friday: Visit to Xochimilco.
Eduardo Abaroa is an artist and writer working in the fields of sculpture, installation and live action. He has shown his work in several major museums in Mexico; LA MoCA, PS1 and ICA Boston in the United States; Reina Sofía Museum in Spain; Kunstwerke, in Germany, the Nottingham Contemporary Museum in the UK, etc. He has participated in Busan, Korea and Mercosul in Porto Alegre, Brasil. Early this march he exhibited Demolition Project: Antrhropology Museum in Kurimanzutto Gallery, Mexico City.
As a writer, he was an art reviewer for the art section of Reforma newspaper, and has written for other Mexican publications like Curare, Casper, Moho, Codigo 06140 and Tomo. He has contributed texts for exhibition catalogues of 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 directed the 9th International Symposium of Art Theory in Mexico City (SITAC) in 2011. Eduardo is the regular course director at Soma.
Magali Arriola is an art critic and curator currently living in Mexico City. She is Curator of Fundación/Colección Jumex since February 2012. She was Chief Curator of Museo Tamayo from 2009-2011 where she curated exhibitions and projects with artists such as Roman Ondák, Joachim Koester, Claire Fontaine, Adriá Julia and Julio Morales. Independent projects include: The Sweet Burnt Smell of History: The 8th Panama Biennial (2008); Prophets of Deceit (Wattis Institute for Contemporary Art, San Francisco, 2006); What once passed for a future, or The landscapes of the living dead (Art2102, Los Angeles, 2005); How to Learn to Love the Bomb and Stop Worrying about it (CANAIA, México City / Central de Arte at WTC, Guadalajara, Mexico, 2003-2004); Alibis (Mexican Cultural Institute, Paris /Witte de With, Rotterdam, 2002). From 1998 to 2001 she was chief curator at the Museo Carrillo Gil in México City, and visiting curator at the Wattis Institute for Contemporary Art in San Francisco in 2006. Arriola has extensively written for catalogues and has contributed to publications such as Spike, Manifesta Journal, Afterall and The Exhibitionist, among others.
Etienne Bernard is an art critic and curator. He is director of the Passerelle Centre for Contemporary Art in Brest, France.
He was granted an MA in Aesthetics from the University of Paris 1, Pantheon-Sorbonne, Paris in 2004. His academic research was focused on documentary American landscape photography. From 2007 to 2009, he was director of the International Poster and Graphic Design Festival of Chaumont and guest curator at the CAPC Museum of Contemporary Art in Bordeaux.
As an art critic, he has been a regular contributor to French magazine 02 among others and has curated various exhibitions in art institutions in France and internationaly. Etienne Bernard has also taught art theory at the University of Paris 1 Pantheon-Sorbonne and at Ecole Supérieure des Beaux-arts in Nantes. From 2010 to 2012 he coordonated Fieldwork Marfa, an international research-in-residency program in Marfa, Texas.
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.
Gerard Byrne’s work has been exhibited at Documenta 13, the 54th Venice Biennale, and in previous Sydney, Gwangju, Lyon, and Istanbul biennales. Recent solo exhibitions include Whitechapel Art Gallery, London, 2013, Gulbenkian Foundation, Lisbon, 2012, IMMA, Dublin, the Renaissance Society, Chicago (2011), and at the 2007 Venice Biennale, where he represented Ireland. Recent group exhibitions include Stage Presence, SFMOMA, El mañana ya estuvo aquí, Museo Tamayo, 2012, You have been there, Marian Goodman Gallery, Abstractions sentimentales et quelques editions, Cneai, Paris, ‘For Eindhoven’ The city as muse, Van Abbemuseum, Eindhoven, Netherlands, 2011
In 2006 he was a recipient of the Paul Hamlyn award. He is represented by the Lisson Gallery in London, Green on Red Gallery in Dublin, and Nordenhake Gallery, Stockholm. He has been a professor at the Royal Danish Academy for Fine Art since 2007.
Miguel Calderón is a visual artist working in various mediums, notably photography, video and writing. His exhibitions include The Sao Paolo Biennial, Museo Tamayo, Yokohama Triennial, Centro de Arte Reina Sofia and Jumex Collection.
Amy Sara Carroll is Assistant Professor of American Culture / Latino / a Studies and English at the University of Michigan, Ann Arbor. She received a Ph.D. in Literature from Duke University (2004), and an MFA in Creative Writing (Poetry) from Cornell University (1995). Her research, teaching, and writing interests include Latino/a American contemporary cultural production (performance, art, video, and literature), feminist, queer, and postcolonial theory, visual culture, cultural studies, inter-American studies, border studies, and critical creative writing. Her poetry has appeared in various journals and anthologies such as Talisman, Carolina Quarterly, The Iowa Review, Mandorla, Chain, Bombay Gin, Seneca Review, Borderlands, Faultline, This Bridge We Call Home, and Not For Mothers Only: Contemporary Poets on Child-Getting and Child-Rearing. She has exhibited poem-prints at the Audre Lorde Project (Brooklyn, New York), Duke University Museum of Art, Schweinfurth Memorial Art Center (Auburn, New York), and State-of-the-Art Gallery (Ithaca, New York).
Carla Herrera-Prats (born Mexico City, 1973, lives between NYC and DF). Herrera-Prats was co-director of the gallery Acceso A in Mexico City. She has shown her individual work in venues such as Sala de Arte Publico Siqueiros, Centro de la Imagen, Museo Dolores Olmedo, Museo Universitario de Arte Contemporáneao in Mexico City; Darb, Egypt; Centre Vu, Canada; Artists Space, Art in General, and The Contemporary Museum of Baltimore, and MASSMocCA, United States. Herrera-Prats is co-founder of Camel Collective, a group of artists, writers and filmmakers with whom she has worked since 2005.
Herrera-Prats has recently taught School of the Museum of Fine Arts in Boston where she was the Graduate Program Director from 2011 to 2013. She has also taught at the Cooper Union, the California Institute of the Arts, the Department of Visual and Environmental Studies at Harvard University. She is the director of the summer program, SOMA Summer in Mexico City.
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.
Helena Chávez Mac Gregor (Mexico City, 1979) Lives and works in Mexico City, Mexico. She has a PhD in Philosophy from the Universidad Nacional Autónoma de México, UNAM, (National Autonomous University of Mexico) with a research on the relationship between Aesthetics and Politics. She did a MA at the Universidad Autónoma de Barcelona (Autonomous University of Barcelona) on Aesthetics and Contemporary Art Theory.
She curate in collaboration with Cuauhtémoc Medina and Mariana Botey the exhibition “Critical Fetishes, Residues of General Economy” at the CA2M in Madrid (2010) and Museo de la Ciudad de México (2011), she also co-curated the exhibition “Spectographies, Memories and History” at the MUAC (2010) and did advise work at the Mexican Pavilion at the 53rd International Art Exhibition, La Biennale di Venecia, 2009 with the exhibition of Teresa Margolles What Else Could We Talk About? Curate by Cuauhtémoc Medina.
Helena is currently the Academic Curator of the MUAC, University Museum of Contemporary Art in Mexico City where she have develop the project Extended Campus a Critical Theory research program.
Among her recent publication are: “A props of Cercanias, A Reading on Representation” (11 to 21 The Political Constitution of the Present, Centro Andaluz de Arte Contemporáneo, Seville, March-June 2011, Issue 1) and “The Revolution Will Not be Televised”, Melanie Smith: Red Square, Impossible Pink, (Mexican Pavilion of the 54 Venice Biennale, INBA- TURNER, Madrid, May, 2011.)
Carmen Cebreros Urzaiz is a curator and writer based in Los Angeles. She is currently a Fulbright scholar and doctoral student at the program of Culture and Performance at UCLA. Her research gravitates between museums as repositories of institutionalized memory and internet as an archival source for the production of narratives about contemporary art. She has an MA in curatorial studies from Goldsmiths College, University of London. Her curatorial projects include The Endless Cycle of Idea and Action, second edition of The Bancomer-MACG Program for Contemporary Artists, Museo de Arte Carrillo Gil (2012), Los Estados Beligerantes by José Luis Rojas (Centro Cultural Border, 2009), Radio Memories (Casa Vecina, 2008) and Radio Concert (Radio UNAM, 2008) by Brandon LaBelle, and Sir John Soane’s Museum Audioguide Project, London (2006). She was registrar and responsible of the documental and video archive conservation at kurimanzuto, where she also contributed as researcher and writer for projects by Damián Ortega, Daniel Guzmán, Fernando Ortega and Abraham Cruzvillegas. She has lectured at the Universidad Iberoamericana, the National School of Visual Arts (UNAM), the Academy of San Carlos (UNAM), Soma, and the National School of Painting, Sculpture and Printmaking “La Esmeralda”.
Irving Dominguez. Mexico City based curator and visual arts independent researcher. He had studied history of photography and diverse methodologies to analyze photography on Centro de la Imagen (CONACULTA) and Escuela Nacional de Antropología e Historia (INAH). He attended curatorial workshops at Centro de la Imagen and a seminar at Teratoma, A. C. Recent curatorial work had been made for the Fototeca de Nuevo León (2012 -2013). He contributed to the collective project www.mapademexico.org under the direction of spanish artist Rogelio López Cuenca. Twice (2009, 2011) had participated on the Encuentro de críticos e investigadores de foto organized and supported by PhotoEspaña Festival and the AECID – Ministerior del Exterior, España.
Since 2011 is teacher of a contemporary photography program, Programa de Fotografía Contemporánea, an iniatiative from Nuevo Leon arts council that is replicated on other Mexican states as Hidalgo. Is member of Taller Multinacional, www.tallermultinacional.org, and Centro ADM, www.centroadm.com, and Residencias Artísticas por Intercambio – R.A.T., artists run spaces in Mexico City.
Coco Fusco is a New York-based interdisciplinary artist and writer. She has performed, lectured, exhibited and curated around the world since 1988. She is a recipient of a 2013 US Artists Fellowship and a 2003 Herb Alpert Award in the Arts. Fusco’s work combines electronic media and performance in a variety of formats, from staged multi-media performances incorporating large scale projections and closed circuit television to live performances streamed to the internet that invite audiences to chart the course of action through chat interaction. Fusco’s performances and videos have been presented in two Whitney Biennials (2008 and 1993), the Sydney Biennale, The Johannesburg Biennial, The Kwangju Biennale, The Shanghai Biennale, InSite O5, the Mercosul Biennial, Transmediale, VideoBrasil and Performa. Her works have also been shown at the Tate Liverpool, The Museum of Modern Art, The Contemporary Arts Museum in Houston, the Boijmans Museum in Rotterdam and the Museum of Contemporary Art in Barcelona. She recently premiered a her latest multimedia performance, And Then the Sea Will Talk to You, at the Brooklyn Academy of Music’s Fisher Theater.
Fusco is the author of English is Broken Here: Notes on Cultural Fusion in the Americas (1995) and The Bodies that Were Not Ours and Other Writings (2001), and A Field Guide for Female Interrogators (2008). She is also the editor of Corpus Delecti: Performance Art of the Americas (1999) and Only Skin Deep: Changing Visions of the American Self (2003).
Anthony Graves works in a collective, research-based practice using painting, printed matter, performance, and text to stage the collisions and intersections of aesthetics and social processes. He has worked in a number of collaborations and has exhibited under the name Camel Collective since 2005. A discursive exploration of power structures, labor, collectivity, and performativity, along with the roles artists play in relation to institutional structures have been of particular importance in his practice. He is currently editing a collection of dramatic scripts titled, Proceedings from the Second World Congress of Free Artists, which will include essays, documents, and original works by over thirty artists, artist collectives, and theorists on the “educational turn” in art.
Anthony Graves has exhibited in New York, London, Mexico City, Copenhagen, and Århus, in venues such as Artists Space, Århus Kunstbygning, Art in General, Sala de Arte Público Siqueiros, Oni Gallery, and Gallery St. Vitus. He holds a BFA from School of the Museum of Fine Arts, Boston (2003), was a fellow at the Whitney Independent Study Program (2004–05), and received his MFA from Cornell University (2009). He has taught at the College of Architecture, Art and Planning, Cornell University, and has given artist lectures at the Royal Academy, Copenhagen, and Malmø Art Academy, Lund University. He was an artist in residence as Camel Collective in Denmark through the Danish Arts Council’s International Visual Arts (DIVA) residency grant.
Galia Eibenschutz is an artist, performer and choreographer based in Mexico. After having studied classical ballet and contemporary dance in Mexico City, she did her BA in Visual Arts in the National University of Mexico. In 2001 she started her post-graduate education at Das Arts in Amsterdam (NL). She works independently as artist, performance artist and choreographer, producing and presenting her own work in exhibition venues. Her body of works constitutes a research into drawing technique, movement and performing arts. She is interested in the relationship between architectural spaces and human body.
Latest productions in performance are: Paisaje abstracto (abstract landscape) Black Box, CNA; Zona de Penumbra (Penumbra area) (2012 ) Ex Teresa Arte Actual Mexico, city; Kinethic drawings (2011) shown in Rubin Art Center UTEP (El Paso, Texas); Punto de Fuga (2010) Laboratorio Arte Alameda (Mexico,city); Movimientos Fósiles (2009) Sala de Arte Público Siqueiros (Mexico,city). She has collaborated as performer in projects of the artist Carlos Amorales in: Spider Galaxy in PERFORMA, N.Y (2007); wolf woman (2006) Chicago Contemporary Museum, Miami Basel and Modern Art Museum in Mexico,city. Una imagen Mental (2011) SITAC VII. Performer for the american artist Joan Jonas in Lines in the sand (2002) shown in CNA Mexico,city and Reading Dante (2009) shown in Sidney Biennial and Yokohama Biennial. She had also collaborated with The performance group My Barbarian and with Mitrovica Contemporary Dance Company in Mexico ,City, in several choreographic pieces.
As part of her research she has given her workshop: drawing and movement, in universities and art and dance centers in Mexico, and United States.
Adam Kleinman (New York City) is Chief Editor of Witte de With’s online platform WdW Review. He has worked at Witte de With since the end of 2012. He is a writer and curator and former dOCUMENTA (13) Agent for Public Programming. Kleinman was curator at Lower Manhattan Cultural Council, where he created the interpretative humanities program “Access Restricted.” Kleinman also developed LentSpace, a cultural venue and garden design by Interboro Partners, which repurposed an entire vacant Manhattan block. There, Kleinman curated “Avenue of the Americas” (2010) and “Points & Lines” (2009). Kleinman is a frequent contributor to multiple exhibition catalogues and magazines including Agenda, Artforum, e-flux journal, Frieze, Mousse and Texte zur Kunst.
Lasse Lau (Sønderborg Denmark, 1974) is a filmmaker and video artist who lives and works in Brussels and Copenhagen. His films deal with socio-economic issues, the negotiation of conflicts and the notion of space through the language of film. Lau seeks to utilize aesthetics as a framework that can open dialogical paths. He has exhibited in a wide range of museums and galleries including Westfälischer Kunstverein (Münster, Germany), Hamburger Bahnhof (Berlin, Germany), Aarhus Art Museum (Aarhus, Denmark), Brandts Klædefabrik (Odense, Denmark), Museum of Contemporary Art (Zagreb, Croatia), the Turin Biennial of Contemporary Art (Turin, Italy), Contemporary Museum (Baltimore, USA) and MoMA PS1 (New York, USA). Lau is the co-founder and long time board member of Kran Film Collective and was a member of the Editorial Selection Board at the Danish Film Institute Video Workshop 2001-02. He studied at the Media Art Department at Funen Art Academy (Odense, Denmark), at the Hochschule der Künste (Berlin, Germany) and at the Whitney Museum of American Art Independent Study Program (New York, USA).
Enrique Méndez de Hoyos (México, 1970) Through the use of video installation and photography, the work of Mendez de Hoyos has been exploring the relation between history, politics and the notion of social trauma. The implementation of the formal qualities of photography as trace and symtomph, and the cinematographic quality of his video installations, are essential in the content of his work.
In his most recent work , a two channel video installation and photographic series called “Tiempo Sagrado” (Sacred Time), Mendez de Hoyos takes Manet´s painting “El Fusilamiento de Maximiliano” to elaborate about the delirium of power and the production of sovereignty in México. This work was presented in the Museo Universitario Arte Contemporáneo (MUAC) during 2010-11. In 2009 he showed, ”Síntomas y Huellas” (“Symtomphs and Traces”) in Laboratorio de Arte Alameda, a work about the historical site of “Tlatelolco”.
Mendez de Hoyos, won the “Premio Revelación” from Centro de la Imagen and PhotoEspaña in 2004, showing his work in Madrid and Mexico City. He has also shown work in Museo del Barrio, NY, Museum of Photography, California and Museo Álvarez Bravo, Oaxaca, among others.
He has a Master of Arts from New York University and has been granted fellowships from Fondo Nacional para la Cultura y las Artes, American Photography Institute and the Organization of the American States.
Vincent Normand is a writer and curator living in Paris. He is co-author of the film Counter History of Separation (2010, with Etienne Chambaud), and the book Metaxu (Rosascape, Paris, 2011, with Fabien Giraud).
From June 2010 to June 2012 Normand has been co-director of the art space Forde in Geneva (www.fordesite.com), where he curated solo exhibitions by young international artists, managed a bookshop, organized satellite programs, and edited Forde’s publications. He recently conceived and led the residency The Decapitated Museum at the Banff Center (Alberta, Canada).
His recent curatorial projects include the exhibitions Sinking Islands (LABOR, sMexico City, 2012), Fun Palace (Centre Pompidou, Paris, 2010), as well as the tripartite project The Sirens’ Stage (David Roberts Foundation, London, 2010), Le Stade des Sirènes (Kadist Foundation, Paris, 2010), and Lo stato delle sirene (Nomas Foundation, Rome, 2010).
Yoshua Okón was born in Mexico City in 1970 where he currently lives. His work is like a series of near-sociological experiments executed for the camera blends staged situations, documentation and improvisation and questions habitual perceptions of reality and truth, selfhood and morality. In 2002 he received an MFA from UCLA with a Fulbright scholarship. In 1994, he founded La Panadería, an artist-run space in Mexico City.
His solo shows exhibitions include: Octopus, Hammer Museum, Los Angeles, USA, HH, Baró Sao Paulo Brazil, Yoshua Okón: 2007-2010, Yerba Buena Center for the Arts, San Francisco, Ventanilla Única,Museo Carrillo Gil, Mexico City, Canned Laughter, Viafarini, Milan, SUBTITLED, Städtische Kunsthalle, Munich, Bocanegra, The Project, NY, Gaza Stripper, Herzeliya Museum, Israel, Cockfight, Galleria Francesca Kaufmann, Milan, Oríllese a la Orilla, Art & Public, Geneva, Lo Mejor de lo Mejor, La Panadería, Mexico City. His Group exhibitions include: Incongruous, Musèe Cantonal des Beux-Arts, Lausanne, Proyecto Juárez, Carrillo Gil Museum, Mexico City, The Mole´s Horizon, Palais des Beaux Arts. Brussels, Amateurs, CCA Wattis, San Francisco, Laughing in a Foreign Language, Hayward Gallery, London, The Age of Discrepancy, MUCA, Mexico City, Adaptive Behavior, New Museum, NY, Terror Chic,Spruth/Magers, Munich, The Virgin Show, Wrong Gallery, NY, Mexico City: an exhibition about the exchange rates between bodies and values, PS1, MoMA, NY, and Kunstwerke, Berlin. He has also participated in: Cuenca Biennial, Quito, Mercosur Bienial, Porto Alegre, Brazil, Istanbul Bienial, Istanbul,ICP Trienial, NY, California Bienial, OCMA, New Port Beach and Torino Triennale, Turin.
Luis Felipe Ortega Born in Mexico City in 1966. He has been doing solo and collective exhibitions since 1993. His work have gone through several languages (sculpture, installation, photography, drawing). The video has been a permanent medium on his production, first by recording actions and then by making visual narratives that travel through silence and void. In the year 2001 the Centre Pompidou acquire his piece Remake, 1994 (in collaboration with Daniel Guzmán). This is it, now is now on 2010, at the Laboratorio Arte Alameda in Mexico City, is his most recent solo exhibition.
Raul Ortega Ayala. The methods Ortega Ayala draws on in his practice have resembled the work of an ethnographer. Immersing himself as a ‘participant observer’ in environments such as those connected with food, gardening and office work, he has then used the materials and experiences resulting from these immersions to produce groups of works which he calls ‘souvenirs’. The artist’s engagement with each ‘world’ has included taking employment as well as conducting practical and theoretical research. He is currently exploring a new methodology for a new series of work devoted to the concept of absence.
Ortega Ayala lives and works in Mexico City. He received an MFA from the Glasgow School of Art and Hunter College in New York and studied philosophy at the National Autonomous University of Mexico concurrently with his undergraduate degree in painting. His work has been exhibited internationally including recent solo shows at Stroom, The Netherlands, Museo Experimental El Eco, Mexico, The Kowalsky Gallery, London (curated by Gilane Tawadros) and in group shows at TENT / Witte de With in Rotterdam, Tramway in Glasgow, EV+A in Ireland, the Liverpool Biennial and the Barbican Centre.
Bárbara Perea A (b. Mexico City, Mexico) is an independent curator and critic with a concentration in emerging media, sound, and video art. In 2001, with fellow curator Mariana David, Perea organized the international residency program David Perea, which included Pawel Althamer, David Castro, Jorge Macchi and Artur Zmijewski, and produced two major artworks by Santiago Sierra. From 2003 to 2006, she was director of MUCA Roma in Mexico City, a satellite art space sponsored by Universidad Nacional Autónoma de México (UNAM). With curator Príamo Lozada, Perea served as artistic co-director of Plataforma Puebla 06 and co-curated the Mexican Pavilion at the 52nd Biennale di Venezia, presenting Some Things Happen More Often Than All of the Time, a solo exhibition by Rafael Lozano-Hemmer. Perea also served on the selection committee for the Berlin-based FAIR PLAY Video Festival in 2006 and the nomination committee for the Rockefeller Foundation/Tribeca Film Institute’s Media Arts Fellowships in 2008. In 2011, she was part of the curatorial team of Transitio mx, an international electronic art and video festival. In 2012, she was selected to be the inaugural resident curator for the Sala Díaz Casa Chuck residency program, in San Antonio. She is also part of the curatorial team for the upcoming Texas Biennial in 2013.
Tyler Rowland was born in 1978 in Reno, Nevada, raised in Phoenix, Arizona, and lives in New York. Rowland is an information-gatherer, a material-collector, and an object/tool-maker. He believes that art has social value. He uses his life, his work, his family, and his home/studio as departure points and often sacrifices or copies objects of personal value. He has shown at venues including Mass MoCA (North Adams, MA), UNAM’s Casa de Lago, SAPS (both Mexico City), Jack Shainman Gallery, Murray Guy Gallery (both NYC), GASP (Boston), More Fools in Town (Turin, Italy), and at ESL Projects, Shoshana Wayne Gallery, Los Angeles Contemporary Exhibitions, and Eungie Joo’s Six Months (all in LA). He has a BA from Vassar College and an MFA from California Institute of the Arts. He has taught at Northeastern University, Massachusetts College of Art, Harvard University, Edward Everett Elementary in the Boston area, and Vassar College.
Paola Santoscoy is a curator and writer on contemporary art based in Mexico City. She is currently director of the Museo Experimental el Eco in Mexico City. In 2011 she was adjuct curator for the 8th Biennial of Mercosul, Porto Alegre, Brazil. In 2010 she curated the exhibition The Nature of Things for the 1st Biennial of the Americas in Denver, CO. She holds an MA in Visual and Critical Studies from California College of the Arts in San Francisco. She has worked in various exhibition spaces and institutions in Mexico City: La Panadería (2000-2001), Museo de Arte Carrillo Gil (2001-2003), and Museo Tamayo Arte Contemporáneo (2004-2007).
Recent curatorial projects include: Xilitla. A project by Melanie Smith and Rafael Ortega, Museo Experimental El Eco, Mexico City (Upcoming, 2010), Asterism. Artists living in Berlin, Museo Tamayo Arte Contemporáneo, Mexico City (2006), Jesús Rafael Soto. Vision in Movement (co-curated with Tatiana Cuevas), Museo Tamayo Arte Contemporáneo, (2005-2006); Video programs Come Closer and Todo va a estar bien (2004-2005). She has developed exhibition projects and curatorial essays for international institutions such as Künstlerhaus Bethanien, Berlin; Fundación Proa, Buenos Aires; GAMeC, Bergamo and Piano Nobile, Geneva. She collaborates regularly with contemporary art publications. In 2007 and 2008 she was invited to curate the section Solo Projects of the international art fair ARCO, Madrid.