This website uses cookies to analyze the traffic
Information on the use of our website is therefore transferred to Google.

Accept

blinkvideo - research of video art, performance and multimedia installations.

blinkvideo - research of video art, performance and multimedia installations.

blinkvideo the platform for . . .

artists we provide a platform for extensive presentation of media works, gallerists get a direct contact to international professional audiences, collectors find a worldwide overview of contemporary trends in moving image, curators can do research via keywords and compilations, teachers use presentation opportunities for students and all professionals get password protected, extensive information about video works worldwide.

FLUID STATES. SOLID MATTER
Videonale 18.

On what basis do we live, think and act nowadays? And how are we shaping this basis for the future? The works of the exhibition FLUID STATES. SOLID MATTER open a discourse on these questions. How does our thinking of the relationship of human beings to their environment change when we no longer see the body as solid and autonomous - as it has been the case until now - but as fluid. As fluid bodies - or "Bodies of Water", as gender researcher Astrida Neimanis puts it -
we as human beings no longer stand above nature, but in interaction with it, with the living being, with the systems that surround us.
Image: © Ida Kammerloch, Resusci Anne, 2019/2020

Alexandra Meijer-Werner

Between 1993 and 2002 Alexandra Meijer-Werner's artistic work focused on creating video installations with multiple projectors, and combining sound, texture and interaction with the public. She also produced a number of documentaries which evidence her profound interest in personal transformation and the awakening of human consciousness.

Please have a look to an introduction of her work on blinkvideo.
Image: © Eugenia Meijer-Werner

Moving Images / Moving Bodies
Online screening programme in cooperation
with the Goethe-Institut Bulgaria

Curated by Ludwig Seyfarth

Research into the human body and interpersonal relationships remain central themes in video and moving image art. Artists from Bulgaria and Germany, whose work is related in content, will be shown in pairs over the next weeks. The exhibition planned for November 2020 in Sofia has been postponed until 2021. Instead, a consecutive presentation of selected films by artists from Moving Bodies/Moving Images is presented on blinkvideo.
image: © Elitsa Dimitrova

Shooting Ghosts
Online screening programme in cooperation
with the Goethe-Institut Bulgaria

Curators: Kalin Serapionov, Krassimir Terziev

What we propose in this programme is a highly subjective and fragmented view on current practices in moving image in the Bulgarian art scene. We focused on practices that show affinity with speculative narratives - narratives that not just record what is in front of the cinematic eye, but also capture all the ghosts that are unreachable by the apparatus, thus projecting speculative views that intend not merely to describe, but to transform the world.
image: © Veneta Androva

Featured videos

Alexandra Meijer-Werner
Kreislauf / cycle … revolution … circulation, 1997

Kreislauf is an oneiric trip about the continuous cycle of human rebirth. Our dreams create the fabric in which the threads or individual tendencies appear and disappear, only to become visible once again. The dynamic of this video is a weave of repetitions and juxtapositions of the experiences that create the dance of life. Everything is cyclic, nothing disappears; everything is perpetually mutating in landscapes of anguish and joy, violence and calm, solitude and union. The traveler is the active force of his own fate when he realizes that what is most significant in life is the act of living itself.

Björn Braun
without title (excerpt), 2012

Sandra Boeschenstein
Besuchte Linie auf Granit, 2014

I encountered the roundworm in the Alps when I attempted to repair the water catchment of the cabin after a storm. I wished for this animal found at the spring to be a visited line, then searched for potential visitors and found, just nearby, a nest of firebugs in a dried chestnut leaf, which I placed just outside of the image field. The granite slab, roundworm, bugs’ nest and a fly lived their lives within a radius of 100 meters. My part in this was to bring them into direct proximity for the duration of an hour, to focus my camera and to breathe onto the upper part of the lens, in order to increase the atmospheric depth of the picture. Finally, to come to the allegation I’ve made via the title that something was a line that actually is an animal (when normally, in a contrary approach, characteristically formed lines represent animals or the like). The combination of the simplicity in the foundation / bedrock with a simultaneous insecurity in view of scale and nature of this white line, holds my fascination.

Isabella Fürnkäs
In Ekklesia, 2015

The title, ‘In Ekklesia,’ comes from the Greek word ‘ecclesia,’ which refers to the democratic parliament that served Athens in its halcyon days by being open to male citizens every other year. Solon, an Athenian legislator and a sage, allowed all citizens to serve the parliament regardless of their social class in BC 594. The Ecclesia made decisions about war, military strategies, and all judicial and administrative issues. This work satirizes various facets of humans and machines in the 21st century, unconsciously within a dystopian environment. Isabella Fürnkäs introduces a method of combining and overlaying countless images in her work, providing the new experience of sensations that act in ambiguous flows, movements, interference, and interjection. The piece is about the new metaphysical and material connections appearing through digital conversations that are divorced from the general notion of time and space, as well as isolation and alienation. Text by Hyun Jeung Kim (Nam June Paik Art Center Seoul)

Ryan Gander
Man on a bridge - (A study of David Lange) , 2008

A digital video transferred from 16 mm film shows a number of slightly differing takes of the same short sequence: A man walks over a bridge and seems to notice something over the railing to his left hand side. As he moves in for a closer inspection, the film cuts, which is then followed by another take of the same shot.

Wim Catrysse
MSR, 2014

On the Kuwait roads the journey goes in a western direction, past military bases and a line of oil transporters. Dreary sound sequences are pumped out by the radio. In the middle of rubbish heaps by the roadside a pack of wild dogs is trying to find shelter from the wind. Wim Catrysse presents the Kuwait desert both as a post-apocalyptic setting and as protagonist. During the journey, the car window is an obstacle, made even more so by the screen. The viewer, dumped in the desert, does not manage to reach it through the window. MSR, the Main Supply Route, is the main highway used to coordinate military operations in the Gulf War in 1990/91 and the War in Iraq in 2003. Filming is forbidden here, so the pack of wild dogs carries the story at first. But their behaviour keeps on bringing the desert into focus as the principal actor. Underlined by the sound track, its seeming hostility to life awakens the impression of a dystopian timelessness reminiscent of the apocalyptic scenarios in films and makes the viewer feel ill at ease. Catrysse examines conventions, both in a political-dogmatic and in a filmic sense.Nathalie Ladermann

Johanna Reich
CRAWLER, 2020

A crawler is a searchbot in the internet which Johanna Reich uses to collect special comments or phrases about the most discussed topics during the last years like A.I., climate change, digital revolution, gender and the turn of democratic systems. Johanna Reich selects several of the collected phrases composing a robot performance: self-driving projectors move across the exhibition space and project comments about a.i., gender or climate change onto the audience and architecture.

Annika Kahrs
solid surface, with hills, valleys, craters and other topographic...., 2014

solid surface,with hills,valleys,craters and other topographic features,primarily made of ice„solid surface, with hills, valleys, craters and other topographic features, primarily made of ice“ is set in a planetarium with a projected starry sky, in the center of which is situated a light spot, that explores the space. The Film deals with the moment, shortly before the actual visualization of pluto’s surface properties, whereas the entire cupola hall of the planetarium serves as a metaphorical projection surface of Pluto. The round light spot formally points to the shape of the celestial object and functions as placeholder for its soon arising image.

Ann Oren
The World Is Mine, 2017

In cosplay of the Japanese cyber diva Hatsune Miku, the artist moved to Tokyo, seeking an identity in the world of Miku fanatics, where she was drawn into a love affair with one of the fans. Miku is a Vocaloid, a vocal synthesizer software personified by a cute animated character. Her entire persona: lyrics, music and animation – is fan created, and that's her charm. She even performs sold out concerts as a hologram. By transforming herself into a Miku character through cosplay, Oren enters a world of real hardcore fans where fantasy is more real than reality and the differentiation between the two becomes obsolete. The film examines the performative nature of cosplaying – dressing up and playing the role of fictional characters – as a hybrid space where reality blurs into fetishistic fantasies and pop culture clichés. Combining fan-made lyrics and songs, Oren's trials and tribulations in the fictional Miku world unfolds through vague erotic episodes and encounters with characters whose ontological status remains mysterious, bringing to mind the adventures of a modern Alice in a virtual Wonderland.

Jonathan Monaghan
Den of Wolves, 2020

Den of Wolves is a seamlessly-looping video installation drawing on a range of references to weave a new multi-layered mythology. The work follows three bizarre wolves through a series of increasingly surreal retail stores as they search for the regalia of a monarch. Composed of one continuous camera shot, the work is an immersive, dreamlike journey drawing connections between popular culture, institutional authority and technological over-dependence.

Stefan Panhans
HOSTEL Sequel #1: Please Be Careful Out There, Lisa Marie – H.V.Installation Mix, 2018

At transmediale, Stefan Panhans and Andrea Winkler show their work HOSTEL Sequel #1: Please Be Careful Out There, Lisa Marie – Hybrid Version, a new project that combines film, installation, and staccato stage reading (on blinkvideo we are showing a trailer of the integrated film). With everyday racism, celebrity worship, stereotypes, and the dominating power of the economic all on the rise, precariously and flexibly traveling cultural workers of different origin deliver a sort of spoken word battle about their experiences and dreams. They constantly switch roles and, at the same time, form a choir that clashes with the rapped reports of everyday life. As in a collaborative gymnastic exercise—surrounded by scenery made up of set pieces from outfits of airports, hostels, and courier services, from self-optimization tools and game show displays—they fight for a voice and to be heard, building new alliances along the way. for more information: opening of transmediale

Mariola Brillowska
Children Of The Devil, 2011

Mariola Brillowska’s animation film relates the total collapse of the family system in the 21st century. Six cartoon episodes present an unsparing account of how children become murderers of their parents.

Julia Charlotte Richter
Point Blank, 2019

“Point Blank” refers to a film scene from "The Misfits" (1961) that is now re-enacted and further contextualized. In the original scene, the recently divorced main character Roslyn (Marilyn Monroe) rises up against three worn-out cowboys and, in the middle of the desert, confronts the men with all their lacks and lost dreams. In “Point Blank”, we see a young woman wandering around in surreal desert landscapes, a journey into the remoteness of the world and her own inner life. With every step out into the desert, the girl descends into her own depths searching for a place that seems to be suitable for her emotions and words. Unlike Roslyn, the young woman now refers to absent addressees: "Liars", "Murderers" and "Dead Men" she screams and turns around wildly. The words, which spread like bullets in the air, fall back on her. Except for a faint echo, there is no resonance at this place that depicts the obsessions of a distorted, patriarchal society and has become a dramatic backdrop of yearnings within the collective history of cinema. Where Roslyn was able to elicit a terrified astonishment from the three men, the character in Julia Charlotte Richter's video remains to herself and unheard, the desert as the only witness of her manifesto, her anger and her strength.

Ulrich Polster
Frost, 2003 / 2004

The night city. Industrial ruins filmed in contrejour. Memories from childhood. Different places and times combined at the mountain. It is a hollow portrait of Eastern Europe that carries the traces of its history.

Ene-Liis Semper
FF REW, 1998

Dimitri Venkov
The Hymns of Muscovy, 2018

The film is a trip to the planet Muscovy, which is an upside down space twin of the city of Moscow. As the title of the work suggests, the journey also takes us back in time. Gliding along the surface of the planet, we look down to the sky and see historic architectural styles fly by - the exuberant Socialist Classicism aka Stalinist Empire, the laconic and brutish Soviet Modernism, and the hodgepodge of contemporary knock-offs and revivals of the styles of the past. An essential companion to this journey through time and space are Hymnic Variations on the Soviet anthem by the composer Alexander Manotskov. The anthem was written in 1943 and has undergone three editions of lyrics yet musically remained unchanged to now serve as the official anthem of the Russian Federation. Manotskov used an early recording of the anthem as source material to create three electronic variations each corresponding to an architectural style. As if in a twist of Goethe’s phrase, architecture plays its frozen music. Look closely, can you hear it?

Share your thoughts with the blinkvideo community.

Would you like to share your videos online? Or would you like to focus attention on a video work? Or would you like to compile and show videos on a specific topic? You can do so with the new tool on blinkvideo.
Create a favorites list as follows:
When you're logged in, a little sign "add to favorite list" will appear below each video. With the click on it, you add the film to your favorites list. When you have collected all the works, open your favorites list and you can share the list with blinkvideo. We will then receive a message and put the compilation online.
We are very curious about your selection!

Our Partners

Follow us on Instagram

blinkvideo mediaart
blinkvideo is a website for the research of video art. Founders: Julia Sökeland, Anita Beckers. blinkvideo ist eine Plattform zur Recherche nach Videokunst

Katya Gardea Browne

Works


Galleries

for further information contact blinkvideo
Germany

Phone: +49 40 22748986
E-Mail: info@blinkvideo.de




Statement

On the Aesthetic Borderline Between Film, Body, Landscape and Politics in Katya Gardea Browne’s Video Piece “Tijuana Girl Crossing”

by Regine Rapp





In her large corpus of works Katya Gardea Browne has repeatedly addressedpolitical and social themes with special attention togender. In an impressive range of works including film and video, installations and photography the Mexican-­-American artist has taken on geopolitical themes while maintaining an impressive formal aesthetic strength.

An excellent example of this is her artistic video workTijuana Girl Crossing from 2009. Gardea Browne has so precisely utilized the formal elements of film, such as color, sound, camera angle and editing, with the result that this video work condenses a wide range of issues into a complex artistic web. In particular the film presents concepts of various types of boundaries – especially body, landscape and geopolitical borders – all the while questioning the relationship and biopolitics between humans and national boundaries.

The narrative, which is constantly being interrupted by abstract film sequences in bright yellow or green, follows a young woman as she goes on trails, through fields and crawls through fences along the Mexico-­- California border. Her motion varies from walking to hiking, and at times she seems to be attemptingto flee. The woman repeatedly appears to be searching for the camera, something that in turn casts us, the viewers, in the role of observers or voyeurs, scrutinizing her actions.

The camera tends to keep a distance, only occasionally zooming closer to the protagonist – giving one the impression that it is a surveillance camera. This view is not just one of neutral observation, but of monitoring; something that is strengthened by the dominant shade of green in the video, a tone often rendered by surveillance cameras.

The woman's body mostly occurs in fragmentary appearances, and its movement acts in opposition to the barren, treeless landscape. As in other works, in this video Gardea Browne also brings the female body into contact with architecture – in this case the special architecture of the border zone, which becomes a geopolitical stage. In the context of space theory Michel de Certeau immediatelycomes to mind, distinguishing between space (espace) and place (lieu). Space describes a place that is used for a certain action, as a grid of movable elements.1 According to de Certeau, space is an activated place. Whereas place can be a geometric figure, is silent, and refers to a condition (state); space is rather associated, according to de Certeau, with movement, the spoken word, or the way (the path). Comparing this oppositional pair of spatial parameters to Gardea Browne’s video piece, the female protagonist transfers place into a political space through her physical presence and constant walking along the border, which without her individual human occupation would have been merely an abstractplace.

Let us reflect more about the aspect of walking and wonderingalong the border area in Gardea Browne’s video piece: What would otherwise be a series of intimate moments, in which the human form meditatively wanders through nature, is here nullified rather effectively by the artificiality of the border context. According to Marc Augé’s space theory, it could be defined as a non-­-site (non-­-lieu), which defines a transitory place with a loss of anthropological experience.2 One notices a certain loneliness in the wandering habits (gestures) of the woman. Surprisingly enough, Augé also uses the term lonelinessin his description of so-­-called non-­-sites, evoked by a lack of personal identification with the site itself. The woman's wandering about in Tijuana Girl Crossing emphasizes a type of an inner and outer disorientation which comes very close toAuge’s definition of non-­-sites in submodernity, wherein non-­-sites are often connected to rules, laws, or in short, codified programs.3

Beyond the realm of thevisual, the layered soundtrack plays an essential role. Various strands of sound meander throughout the entire video: most recognizable is the noise of a running 8mm camera (a magnificent cinematic self-­-reference!); while at times one hears futuristic, often hallucinogenic compilations evoked by radio-­-frequency tones with digitally processed gongs. As an auditory counterpart we catch alternating sequencesof police or border control broadcasts, connoting surveillance.

Meanwhile the film editing is always well balanced: longer, calmer sequences are replaced by shorter, quicker sequences, usually containing jump cuts. Finally the use of fast-­-forwarding makes the protagonist's strides seem absurd, bringing a strange slapstick note to a hike along the border.

Another strong formal decision by the artist is the two-­-part video image structure, which forms a diptych. Sometimes Gardea Browne places the protagonist on the left half, sometimes on the right half of the image, in the process regularly extending the (apparent) narrative with abstract and brightly colored voids. Very often, we encounter the principle of reflection: actual and mirrored footage are presented simultaneously on the two parallel surfaces of the diptych. This mirrored duplication of the footage is like a game of cinematic linearity; forward motion appears to be slowed down by the mirrored reverse. The use of the diptych underlines the formal borders of the celluloid, as well as the geopolitical situation of the border zone.

The use of soft focus also plays a role in Tijuana Girl Crossing: a constant switching from sharp to blurry conveys distance on the level of content, constantly breaking down the narrative and finally bringing the viewer to a point of loss of control over the image, which in turn leads to uncertainty in the viewer’s position of observation.

Finally, the phenomenon of the loop plays an important role in the video Tijuana Girl Crossing, which is about five minutes in length, but which has been created through different structures of repetition, something which functions hypnotically when projected in the exhibition space. The loop's constant repetition makes finding a beginning or end to the work impossible. In the end, we viewers completely succumb to the (above mentioned) hallucinogenic undertow and are no longer able todifferentiate the boundaries between fiction and reality, which are constituted by the manifold connections between body, border and politics.


Regine Rapp

Berlin, September 2013





1 Michel de Certeau: L’intervention de quotidien, in: Michel de Certau: L’art de faire, Paris 1990, p. 218.
2 Marc Augé: Nicht-Orte. München 2010, p. 83 (first published in French as Non-Lieu. Introduction á une anthropologie de la surmodernité, Paris 1992).
3 Ibid., p. 98.


Biography

Born 1971 in Mexico
Alternate’s between Berlin and Mexico City

Studies

MFA, Yale University, New Haven, CT.
Film Studies at Yale University, New Haven, CT.
BFA, School of Visual Arts SVA, NY.
La Esmeralda, CNA, Mexico.


Selected group shows

2016
Natures Culture, Photography Exhibition, Alfred Ehrhardt Foundation, Curators R. Rapp and Christian de Lutz

2015
Substanziller Einfluss / Substantial Influence, Bayer Foundation, Curator Ludwig Seyfarth, Germany

2014
Frecuencias Residentes, Video and Installation, Rodrigo Campuzano, Mexico
Ruinen der Gerenwart / Ruins of the Present, Ludwig Seyfarth, Steinbrener/Dempf & Huber, Vienna Austria
Macro Biologies 1, The Biosphere, Art Laboratory Berlin, Germany

2010
Paisaje Después del Temblor, Curator Teodoro D. Lagunes, Galería Luis Adelantado, Mexico City
Off Fence, Michelle Chong and Ian Henderson, Art Laboratorie Berlin, April 2010

2009
Emplazamientos, Guillermo Santamarina, Canada
Peeping Tom, The Chain – Selected Artist, Berlin-Paris
Truestories.truesuccess & Sincerity is the New Radical, Curator Alanna Lockward, Freies Museum, Berlin
Curatorial Project & Hair Auction, collaboration w/ Alanna Lockward, Freies Museum, Berlin

2008
Tree on Lake TEXCOCO, Site Specific & Landscape Intervention, PUIMEX, Museo de la Ciudad de México

2007
Kunsthalle Berlin-Lichtenberg, Dorothee Albrecht & Ludwig Seyfarth, Berlin
Ocean Heart Project, Site - Lake TEXCOCO, Peter Phend, London UK
Cartographies, Video Installation, Institute of Culture, Margarita, Venezuela
Polvo Azúl / Blue Dust, Espacio Central, Curator Frederik Janka, Santa Barbara California
Tijuana Girl Crossing, Feminism & Video Abstraction, Curator Frederik Janka, El Particular & Nina Menocal, Mexico

2006
Still Water Rising, Mirror Sculpture & Video Installation, Estacionarte / Jumex MACO Art Fair, Mexico

2005
Other Dimensions on Abstraction, Roberts & Tilton, Gallery One Twenty Eight, Bowery, New York
It’s Not Rocket Science, California Biennale, San Francisco & Oakland
Texas Street Pavilion, Peter Kirkeby Gallery, w/ Kay Harvey and Gregory Edwards, San Francisco

2002-2004
MUCA Gallery, Artists Prints Editions, New Zeeland

2003
Duct & Cover, SAFI Santa Fe Art Institute, Diane Karp, New Mexico
9/11 Rescue, New York Artist Studios, SAFI Santa Fe Art Institute, New Mexico

2002
Drawings and Water Colors Exhibition, Alianza Francesa, Oaxaca México

2001
DUMBO Arts Center, Wakas Wajahat & Joy Glidden, Brooklyn, New York

Selected solo shows

2012
Structure Paintings & Installation, Salón Centro / Centro Histórico, Mexico City

2011
Exhibition MANADA Architectural Boundaries, Sculpture & Photography, Mexico City
Paisajes y Abstracción, Galería Nadie es Perfecto, Casa Antigua / Oaxaca, Mexico

2010
Museo de Mujeres Artistas Mexicanas, Virtual Exhibition, Cuator Karla Jasso
Color of Skin, Video Screenings, Salón Centro / Centro Histórico, Mexico City

2009
SWEET SUGAR, Museo Experimental de El ECO, UNAM, Mexico City

2008
Tree Intervention Lake TEXCOCO, Museo de la Ciudad de México, PUIMEX, Mexico City

2007
Artist Feature, Architecture for Art, Curator Liane Nouri, New York

2006
Peripheral Landscapes - Bordering, Der Ester Stock Mariane Wagner, Berlin Germany
Green Scape-Blind Spot, Video and Sculpture Installation, UCSJ Celda Contemporánea, Mexico

2004-2005
Hidalgo Project, Structures & Landscape, Moving Sculpture and Fire Works, Oaxaca Mexico

2003
Animas Negras, IAGO Graphic Arts Institute, Francisco Toledo, Oaxaca Mexico
Círculos en Tierra Firme, Printmaking Project, SAFI Santa Fe Art Institute, New Mexico

2002
Watercolors and Drawings, Alianza Francesa, Oaxaca Mexico

2000
Muna, Wall Drawing, Dumbo Arts Center, Curated by Wakas Wajahat, Brooklyn, New York

Auctions and private collections

2008 Part of the JUMEX Collection, Mexico City since
2012 Mexico Vivo, Museo de Arte Moderno, Mexico City
1998–2000 British Center for the Arts, Aids Auction, Yale University
2003 Video Archive Francisco Toledo, Oaxaca Mexico since
2002-2004 MUCA Gallery International Artists Archive and Printmaking, New Zealand
2000 Luis de Llano Macedo, Fundación Televisa Mexico since

Katya Gardea Browne
Born 1971 in Mexico Alternate’s between Berlin and Mexico City Studies MFA, Yale University, New Haven, CT. Film Studies at Yale University, New Haven, CT. BFA, School of Visual Arts SVA, NY. La Esmeralda, CNA, Mexico. Selected group shows 2016 Natures Culture, Photography Exhibition, Alfred Ehrhardt Foundation, Curators R. Rapp and Christian de Lutz 2015 Substanziller Einfluss / Substantial Influence, Bayer Foundation, Curator Ludwig Seyfarth, Germany 2014 Frecuencias Residentes, Video and Installation, Rodrigo Campuzano, Mexico Ruinen der Gerenwart / Ruins of the Present, Ludwig Seyfarth, Steinbrener/Dempf & Huber, Vienna Austria Macro Biologies 1, The Biosphere, Art Laboratory Berlin, Germany 2010 Paisaje Después del Temblor, Curator Teodoro D. Lagunes, Galería Luis Adelantado, Mexico City Off Fence, Michelle Chong and Ian Henderson, Art Laboratorie Berlin, April 2010 2009 Emplazamientos, Guillermo Santamarina, Canada Peeping Tom, The Chain – Selected Artist, Berlin-Paris Truestories.truesuccess & Sincerity is the New Radical, Curator Alanna Lockward, Freies Museum, Berlin Curatorial Project & Hair Auction, collaboration w/ Alanna Lockward, Freies Museum, Berlin 2008 Tree on Lake TEXCOCO, Site Specific & Landscape Intervention, PUIMEX, Museo de la Ciudad de México 2007 Kunsthalle Berlin-Lichtenberg, Dorothee Albrecht & Ludwig Seyfarth, Berlin Ocean Heart Project, Site - Lake TEXCOCO, Peter Phend, London UK Cartographies, Video Installation, Institute of Culture, Margarita, Venezuela Polvo Azúl / Blue Dust, Espacio Central, Curator Frederik Janka, Santa Barbara California Tijuana Girl Crossing, Feminism & Video Abstraction, Curator Frederik Janka, El Particular & Nina Menocal, Mexico 2006 Still Water Rising, Mirror Sculpture & Video Installation, Estacionarte / Jumex MACO Art Fair, Mexico 2005 Other Dimensions on Abstraction, Roberts & Tilton, Gallery One Twenty Eight, Bowery, New York It’s Not Rocket Science, California Biennale, San Francisco & Oakland Texas Street Pavilion, Peter Kirkeby Gallery, w/ Kay Harvey and Gregory Edwards, San Francisco 2002-2004 MUCA Gallery, Artists Prints Editions, New Zeeland 2003 Duct & Cover, SAFI Santa Fe Art Institute, Diane Karp, New Mexico 9/11 Rescue, New York Artist Studios, SAFI Santa Fe Art Institute, New Mexico 2002 Drawings and Water Colors Exhibition, Alianza Francesa, Oaxaca México 2001 DUMBO Arts Center, Wakas Wajahat & Joy Glidden, Brooklyn, New York Selected solo shows 2012 Structure Paintings & Installation, Salón Centro / Centro Histórico, Mexico City 2011 Exhibition MANADA Architectural Boundaries, Sculpture & Photography, Mexico City Paisajes y Abstracción, Galería Nadie es Perfecto, Casa Antigua / Oaxaca, Mexico 2010 Museo de Mujeres Artistas Mexicanas, Virtual Exhibition, Cuator Karla Jasso Color of Skin, Video Screenings, Salón Centro / Centro Histórico, Mexico City 2009 SWEET SUGAR, Museo Experimental de El ECO, UNAM, Mexico City 2008 Tree Intervention Lake TEXCOCO, Museo de la Ciudad de México, PUIMEX, Mexico City 2007 Artist Feature, Architecture for Art, Curator Liane Nouri, New York 2006 Peripheral Landscapes - Bordering, Der Ester Stock Mariane Wagner, Berlin Germany Green Scape-Blind Spot, Video and Sculpture Installation, UCSJ Celda Contemporánea, Mexico 2004-2005 Hidalgo Project, Structures & Landscape, Moving Sculpture and Fire Works, Oaxaca Mexico 2003 Animas Negras, IAGO Graphic Arts Institute, Francisco Toledo, Oaxaca Mexico Círculos en Tierra Firme, Printmaking Project, SAFI Santa Fe Art Institute, New Mexico 2002 Watercolors and Drawings, Alianza Francesa, Oaxaca Mexico 2000 Muna, Wall Drawing, Dumbo Arts Center, Curated by Wakas Wajahat, Brooklyn, New York Auctions and private collections 2008 Part of the JUMEX Collection, Mexico City since 2012 Mexico Vivo, Museo de Arte Moderno, Mexico City 1998–2000 British Center for the Arts, Aids Auction, Yale University 2003 Video Archive Francisco Toledo, Oaxaca Mexico since 2002-2004 MUCA Gallery International Artists Archive and Printmaking, New Zealand 2000 Luis de Llano Macedo, Fundación Televisa Mexico since

Please fill out the application form.

  • Please select
  • Mr.
  • Mrs.
  • Please select
  • Afghanistan
  • Albania
  • Algeria
  • American Samoa
  • Andorra
  • Angola
  • Anguilla
  • Antarctica
  • Antigua and Barbuda
  • Argentina
  • Armenia
  • Aruba
  • Australia
  • Austria
  • Azerbaijan
  • Bahamas
  • Bahrain
  • Bangladesh
  • Barbados
  • Belarus
  • Belgium
  • Belize
  • Benin
  • Bermuda
  • Bhutan
  • Bolivia
  • Bosnia and Herzegovina
  • Botswana
  • Bouvet Island
  • Brazil
  • British Indian Ocean Territory
  • British Virgin Islands
  • Brunei
  • Bulgaria
  • Burkina Faso
  • Burma
  • Burundi
  • Cambodia
  • Cameroon
  • Canada
  • Cape Verde
  • Cayman Islands
  • Central African Republic
  • Chad
  • Chile
  • China
  • Christmas Island
  • Cocos (Keeling) Islands
  • Colombia
  • Comoros
  • Congo Democratic Republic of the
  • Congo Republic of the
  • Cook Islands
  • Costa Rica
  • Cote d'Ivoire
  • Croatia
  • Cuba
  • Curacao
  • Cyprus
  • Czech Republic
  • Denmark
  • Djibouti
  • Dominica
  • Dominican Republic
  • Ecuador
  • Egypt
  • El Salvador
  • Equatorial Guinea
  • Eritrea
  • Estonia
  • Ethiopia
  • Falkland Islands (Islas Malvinas)
  • Faroe Islands
  • Fiji
  • Finland
  • France
  • France Metropolitan
  • French Guiana
  • French Polynesia
  • French Southern and Antarctic Lands
  • Gabon
  • Gambia
  • Georgia
  • Germany
  • Ghana
  • Gibraltar
  • Greece
  • Greenland
  • Grenada
  • Guadeloupe
  • Guam
  • Guatemala
  • Guernsey
  • Guinea
  • Guinea Bissau
  • Guyana
  • Haiti
  • Heard Island and McDonald Islands
  • Holy See (Vatican City)
  • Honduras
  • Hong Kong
  • Hungary
  • Iceland
  • India
  • Indonesia
  • Iran
  • Iraq
  • Ireland
  • Isle of Man
  • Israel
  • Italy
  • Jamaica
  • Japan
  • Jersey
  • Jordan
  • Kazakhstan
  • Kenya
  • Kiribati
  • Korea North
  • Korea South
  • Kosovo
  • Kuwait
  • Kyrgyzstan
  • Laos
  • Latvia
  • Lebanon
  • Lesotho
  • Liberia
  • Libya
  • Liechtenstein
  • Lithuania
  • Luxembourg
  • Macau
  • Macedonia
  • Madagascar
  • Malawi
  • Malaysia
  • Maldives
  • Mali
  • Malta
  • Marshall Islands
  • Martinique
  • Mauritania
  • Mauritius
  • Mayotte
  • Mexico
  • Micronesia Federated States of
  • Moldova
  • Monaco
  • Mongolia
  • Montenegro
  • Montserrat
  • Morocco
  • Mozambique
  • Namibia
  • Nauru
  • Nepal
  • Netherlands
  • New Caledonia
  • New Zealand
  • Nicaragua
  • Niger
  • Nigeria
  • Niue
  • Norfolk Island
  • Northern Mariana Islands
  • Norway
  • Oman
  • Pakistan
  • Palau
  • Panama
  • Papua New Guinea
  • Paraguay
  • Peru
  • Philippines
  • Pitcairn Islands
  • Poland
  • Portugal
  • Puerto Rico
  • Qatar
  • Reunion
  • Romania
  • Russia
  • Rwanda
  • Saint Barthelemy
  • Saint Helena Ascension and Tristan da Cunha
  • Saint Kitts and Nevis
  • Saint Lucia
  • Saint Martin
  • Saint Pierre and Miquelon
  • Saint Vincent and the Grenadines
  • Samoa
  • San Marino
  • Sao Tome and Principe
  • Saudi Arabia
  • Senegal
  • Serbia
  • Seychelles
  • Sierra Leone
  • Singapore
  • Sint Maarten
  • Slovakia
  • Slovenia
  • Solomon Islands
  • Somalia
  • South Africa
  • South Georgia and the Islands
  • South Sudan
  • Spain
  • Sri Lanka
  • Sudan
  • Suriname
  • Svalbard
  • Swaziland
  • Sweden
  • Switzerland
  • Syria
  • Taiwan
  • Tajikistan
  • Tanzania
  • Thailand
  • Timor Leste
  • Togo
  • Tokelau
  • Tonga
  • Trinidad and Tobago
  • Tunisia
  • Turkey
  • Turkmenistan
  • Turks and Caicos Islands
  • Tuvalu
  • Uganda
  • Ukraine
  • United Arab Emirates
  • United Kingdom
  • United States
  • United States Minor Outlying Islands
  • Uruguay
  • Uzbekistan
  • Vanuatu
  • Venezuela
  • Vietnam
  • Virgin Islands
  • Wallis and Futuna
  • West Bank
  • Western Sahara
  • Yemen
  • Zambia
  • Zimbabwe

Data you submit will only be used by us for contact purposes, sending you the password and information about our activities. Your data will not be shared with other companies.


Enter your E-mail address below and we'll get you back to the art.