The Texts | Davis Museum


Unknown Suspects

A response to America’s current climate of fear, “Unknown Suspects” is inspired by depictions of unknown terrorists in the media: those black silhouettes of head shots.
Culled from the web, the photo-based images in “Unknown Suspects” act as a kind of Rorschach test for our collective unconscious: what threats do we perceive in their vague ethnicity?  We take notice of the tilt of the head, the shape of the ears, the curls or sweep of the hair.
The anonymous, shadowy images become a mirror that allows us to examine our other selves.


These common household objects--a light bulb, a pill bottle, a paper wad--are transformed by being cast.
The process is much like photography. The object makes an impression, and the resulting cast bears a one-to-one physical relationship with the original, like light that bounces off a subject then through a lens to make a facsimile.
And the choice of everyday subject matter raises the ordinary to a higher level of scrutiny and reverence. It's as if our lives were being excavated eons from now in an archaeological dig, perhaps after an apocalyptic event, and these traces are what is discovered.
What do they say about us, and the daily lives we led, the things that mattered to us and that we held in our hands?


Gary Duehr has been chosen as a Best Emerging Artist in New England by the International Association of Art Critics, and he has received an Artist Grant in photography from the Massachusetts Cultural Council. His work has been featured in museums and galleries including the Institute of Contemporary Art, Boston, MA; MOMA PS 1, New York, NY; Los Angeles County Museum of Art, Los Angeles, CA; and Museo Nacional de Bellas Artes, Havana, Cuba, as well as exhibitions in Tokyo, Venice, Stockhom, London and Barcelona. Past awards include grants from the LEF Foundation and the Rockefeller Foundation.
His public artworks include a video artwork for the Canadian subway system; a photo installation funded by the Visible Republic program of New England Foundation for the Arts, and a commission from the MBTA (Massachusetts Bay Transit Authority) for a permanent photo installation at North Station.
Duehr has written about the arts for journals including ArtScope, Art New England, Art on Paper, Communication Arts, Frieze, and Public Culture. Currently he manages Bromfield Gallery in Boston's South End.


Davis Lisboa:
What/who inspired the work?

Gary Duehr:
Unknown Suspects was inspired by the media obsession with foreign-looking suspects whenever there is a terrorist incident - a kind of fear-mongering. Mouse was inspired by the mundanity of everyday objects.

Davis Lisboa:
What do you hope its viewers will feel/think?

Gary Duehr:
I hope Suspects provokes a bit of critical thinking, and Mouse is a fairly deadpan joke about obsolete technology and our fetishism.

Davis Lisboa:
Why did you choose the medium, subject matter, style?

Gary Duehr:
For Suspects I worked directly from the web and translated to stencils and spray graphite, to make the images more "real." For Mouse, cement is pretty useless in terms of technology, so it's part of the joke.

Barcelona, March 24, 2018.


Davis Lisboa:

I don’t know, but for me it is just a continuation of the Internet. It is like some digital artists or some people making paintings, making objects, making installations, but using the symbol of the Internet.

Davis Lisboa:
Online collaboration?

Yes, I love to collaborate with all the artists. I love to exchange with them. I love this art, because this is my art. Well, it is not just my art. Actually, there are a lot of people who do make the same art. Some contemporary artists just like you or me, a lot of people in fact.
I think we must be independent and we must be everywhere. I also think we can create a work in this way, following a new economic scheme.

Davis Lisboa:

I created this museum because I think the institutions and galleries are not interested in digital art, in emergent art, in video art, in computer art, in Net Art or in all these things.
I really think we must exhibit ourselves.
Therefor I created this museum in order to organize exhibitions with a lot of international artists. And it was a big surprise because…

Davis Lisboa:
Oh, really?

Yes, because all exhibitions took place in a lot of cities such as New York, Caracas, China and Canada… And now I am working on other lot of countries...

Davis Lisboa:
Art and money?

Now I just make art. It is my choice.

Davis Lisboa:
Yes, it is a very good choice!

Well, I don’t know. Not for?!

Davis Lisboa:
Not for what?

Money! Money! Money!

Davis Lisboa:
Inserte coins?

Maybe we can put my video inserting coins.

Davis Lisboa:
Put your video? … This video that you’re presenting?

Because my videos represent a lot of money…

Davis Lisboa:
Oh, yes! It could be! It fits! It fits! It fits!



Amber Ginsburg & Joseph Madrigal, “Teacle”, 2015, performance, video, projection and gilded frame, 7,08 x 5,90 x 1,18 in


The work, titled Treacle, comes from the term for an old fashioned dessert made from turning crystallized sugar into a liquid. Treacle references this physical transformation, the domestic and slow syrupy movement. Pulling heavily from pictorial traditions, our aim is to refract and scramble the visual information of interior and exterior landscapes.
This project was inspired and produced during a residency at Rutherfurd Hall, a historical house museum in New Jersey, USA. Connections began to coalesce from looking at the site, original blue prints, farmed Astro-Lunar photographs by the pioneer photographer Lewis Morris Rutherfurd and the intensely picturesque views of the lake that seemed to forever reframe John Constable paintings. The insistence of romanticism paired with layers of historical technologies brought to mind displacement. We fabricated an odd object, something more out of a H.P. Lovecraft short story such as Color out of Space, that allowed us to reflect the space in complex convex and concave tessellations. Placing an object of uncertain origin within familiar pictorial tropes, the performance of the body within transforms both the object and the surrounding space. This work attempts to de-anchor. Using analog practices, no digital manipulation is used in the work other than the original digital filming.



María María Acha-Kutscher, "Indignadas Cube", 2015, digital drawing on printed paper, 5,11 x 5,11 x 5,11 in


Since 2012

Indignadas (Outraged Women) consists of a visual record of participation of women in public protests around the world, including social movements like 15M (Spain), Occupy Wall Street (NYC), and feminist movements like Femen, Pussy Riot, SlutWalk, and Alfombra Roja (Red Carpet, Peru). I turn photographs from press and witnesses into drawings that I prints onto large format tarps for exhibitions in public spaces.
The aim of the Indignadas series is to make women's efforts more visible and place women at the center of these social struggles. A memory bank that shows future generations that social changes throughout history were made by women and men together.

The drawings show a female body not offered as support for the man's eyes, but as support for the political message. By transforming photographs into drawings, I set them in the supposed "timelessness" of art. This is another way to connect with society, by using the language of art to inmortalize these women's actions, preserve the memory of the protest, and keep the social movements alive.

The images can be used under Creative Commons license.



CATARINA LEITÃO, "Dendrogram | Tree-kit (Mini Version)", 2015, wood, acrylic paint, paper and wire, variable dimensions, 3,54 x 1,11 x 16,1 in (closed)


In my artwork I investigate the spatial possibilities of drawing. I render relationships between two-dimensional and three-dimensional space, with a special focus on structures and objects that collapse/expand, fold/unfold, and that are portable when closed. Intertwined with this research, I reflect on our relationship with nature and what we define as such, in an increasingly manipulated and constructed environment, conditioned by culture.
I build portable and nomadic structures that can acquire several configurations and adapt to different spaces and places. Working in a variety of formats such as large size installations, works on paper, books or fabric works, I incorporate into the work’s narrative the potential of each piece to be manipulated and transformed.

Dendrogram Mini Version
A work on portability, 3D drawing, stillness/action and the freedom of display

Dendrogram | Tree-kit (Mini Version) was made during the process of creating a large piece titled Dendrogram | Tree-kit.

Dendrogram | Tree-kit is a product of a research on the possibilities of drawing in space. Composed of painted wood modules, the piece is a three-dimensional drawing that incorporates the effects of light and shadow on the container’s surfaces — the exhibition space.

Dendrogram is a kit, several pieces that fit into a box or a bag. Its transformed branches may be mounted in a tent like fashion. This makes the artwork portable and mutant: it is either closed or open, still or active in space through the manipulation of its parts by a participant.

The analysis of our relationship with nature and how we have been culturally conditioned to experience it, is the basis from witch I have been creating fictional narratives in my artwork. The Dendrogram works developed from a research on a fictitious Botany in which I created new vegetable species in drawing. The fictional species were created from the ideas of taming, mimicking, manipulation and hybridization. The artifacts and visual materials produced are then organized into portable museums.
In the Dendrogram works, the original material of the tree shapes is hidden. Existent tree sticks are altered and painted into new shapes representing new-formed tree branches. This body of work entangles fact and fiction, organic and mechanic, natural and artificial, sculpture and drawing.

In the process of creating the Mini Version, born out of this context and the idea of stillness/action, the miniaturization of a box/container to hold the expanding mini 3D drawing accidentally grew into the shape of a matchbox. Consequently, the link to Ben Vautier’s Total Art Match-Box (1965) offered a new set of multiple layers necessary to resolve this work, which was especially created to reside in the Davis Lisboa Mini-Museum of Contemporary Art in Barcelona Collection.

The portable museum is a free form of the museum. Unconstrained by institutional weight, it is light; it travels, has no fixed context, and, most importantly, it is endowed with a sense of humor.

Catarina Leitão
April 2016


MFA Hunter College, City University of New York, 2000.
Fine Arts degree by FBAUL, University of Lisbon, 1993.
Solo Exhibitios: Systema Naturæ, Carlos Carvalho Arte Contemporânea, Lisbon, Portugal, 2012.
Invasive Species, Carpe Diem Arte e Pesquisa, Lisbon, Portugal, 2010.
Flatland, Galeria Pedro Cera, Lisbon, Portugal, 2009.
Thicket, Number 35 Gallery, New York, USA, 2007.
The Characters, The Objects and the Landscapes, Galeria Pedro Cera, Lisbon, Portugal, 2006.
Natural Selection, Michael Steinberg Project Room, New York, USA, 2005.
Desenhos, Galeria Pedro Cera, Lisbon, Portugal, 2004.
Catarina Leitão / Matthew Ronay, Andrea Rosen Gallery, New York, USA, 2003.
Natureza Domesticada, Centro de Arte Moderna, Fundação Calouste Gulbenkian, Lisbon, Portugal, 2002.
A.R.D. Artificial Retreat Devices, Colecção Berardo – Sintra Museu de Arte Moderna, Portugal, 2001.


Then & Now, CBA, The Castle Gallery and The College of New Rochelle, NY, USA, 2015.
Trabalho de Campo IV, Matriz Malhoa, curated by Mário Caeiro, Malhoa Museum, Caldas da Rainha, Portugal, 2015.
Trabalho de Campo III, Public art project for ArteMar, curated by Luísa Soares de Oliveira, Estoril, Portugal, 2015.
Then & Now: Ten Years of Residencies at the Center for Book Arts The Center for Book Arts, New York, USA, 2015.
Salon für Kunstbuch, 21er Haus, Viena, Austria, 2014.
Nas Imediações do Desenho, Carlos Carvalho Arte Contemporânea, Lisbon, Portugal, 2014.
We are pleased to invite you #3, Carlos Carvalho Arte Contemporânea, Lisbon, Portugal, 2013
Arqueologia do detalhe, curated by Fátima Lambert, Casa das Artes, Vigo, Spain, 2011
Passante no Mundo – Paulo Reis e Cª, curated by Fátima Lambert Quase Galeria, Porto. Portugal, 2011
Open Book: An International Survey of Experimental Books, Eastern Michigan University, MI, USA, 2010
Pretty Tough: Contemporary Storytelling, curated by Monica Ramirez-Montagut, The Aldrich Contemporary Art Museum, CT, USA, 2009.
We're all gonna die, curated by Ron Keyson, Sue Scott Gallery, New York, USA, 2009.
Lá Fora, curated by João Pinharanda, Museu da Electricidade, Lisbon, Portugal, 2009.
Four Degrees: Views on Climate Change, curated by Robert Sweeny, Kipp Gallery, Indiana University of Pennsylvania, PA, USA, 2008.
Lá Fora, curated by João Pinharanda, Museu da Presidência da República, Viana do Castelo, Portugal, 2008.
Center for Book Arts Artists in Residence Workspace, Center for Book Arts, New York, USA, 2008.
Point of View, Fundação PLMJ Collection, curated by Miguel Amado, Museu da Cidade, Lisbon, Portugal, 2008.
Human Resources, curated by Sara Reisman, part of Lower Manhattan Cultural Council’s Artists Residency Marks a Decade Downtown, Lower Manhattan Cultural Council, New York, USA, 2008.
The Shape of Things to Come, curated by Marco Antonini, LMCC Redhead Space, New York, USA, 2007.
50 Years of Portuguese Art, Fundação Calouste Gulbenkian, Lisbon, Portugal, 2007.
Anatomical Attitudes, curated by Robin Reisenfeld, Heskin Contemporary, New York, USA, 2007.
Triangle Arts, Brooklyn, New York, USA, 2007.
Prevailing Climate, curated by Rachel Gugelberger and Jeffrey Walkowiak, Sara Meltzer Gallery, New York, USA, 2006.
Garden Improvement, curated by Jennifer McGregor, Wavehill, Glyndor Gallery and Grounds, New York, USA, 2006.
En Masse, Heskin Contemporary, New York, USA, 2006.
501 Lexington, curated by Mckendree Kee, The Roger Smith Lab, New York, USA, 2006.
Options and Futures, Fundação PLMJ, curated by Miguel Amado, Arte Contempo, Lisbon, Portugal, 2006.
Naturalia, curated by Leonor Nazaré, Centro Cultural de Lagos / Fundação Calouste Gulbenkian, Lagos, Portugal, 2006.
Salon Itenérant d’Art Contenporain, curated by Fátima Lambert, France, Lithuania, Austria, Italy, Spain, Portugal, 2006.
MNH, Leaves of Grass Pillow, with Trong G. Nguyen for the project "HNH", Tenri Cultural Institute, New York, USA, 2006.
Greater New York 2005, PS1/MoMA Contemporary Art Center, New York, USA, 2005.
Relative Density, curated by Leonor Nazaré, Centro de Arte Moderna, Fundação Calouste Gulbenkian, Lisbon, Portugal, 2005.
Our World, curated by Julie Peppito, Broadway Gallery, New York, USA, 2005.
Desenhar Discurso: Digressões sobre uma Urbanidade Disruptiva, curated by Miguel Von Hafe Perez, Vila Nova de Cerveira, Portugal, 2005.
Bienal de Pontevedra 2004 – In the Beginning there Was the Journey, curated by Miguel Von Hafe Perez and David G. Torres, Pontevedra, Spain, 2004.
Field: Science, Technology and Nature, curated by Alyson Baker, Socrates Sculpture Park, New York, USA, 2004.
Freehand, curated by Rachel Gugelberger, Marvelli Lab, New York, USA, 2004.
Go! Liquidación Total, Madrid, Spain, 2003.
Envelope, The Point Gallery, 2 artists, New York, USA, 2000.
000-00-0000, Star67, Brooklyn, New York, USA, 2000.
The Body In The Garment In The Furniture In The Room, Times Square Gallery – Hunter College, New York, USA, 1999.
Bienal da Maia 99, curated by António Cerveira Pinto, Maia, Portugal, 1999.
Inside/Out, 2 artists, 83 Canal, New York, USA, 1999.
Roadside Museum, Hiroshima, Japan, 1997.
Gallery Guute e Art Spot Gallery Marya, Hiroshima, Japan, 1996.
Heat-up, Museu de Fukuyama, Hiroshima, Japan, 1996.
AIM - Artists in the Market Place, The Bronx Museum of The Arts, New York, USA, 1996.
Acerca da solidão dos objectos, solo show, Galeria Arte Periférica, Lisbon, Portugal, 1996.
Nature/Human Works, Gallery Korea, New York, USA, 1995.
3 artists, Galeria Arte Periférica, Lisbon, Portugal, 1995.
Les premiers pas..., Mons Museum, Mons, Belgium, 1994.
Pinturas e objectos, 2 artists, Galeria Arte Periférica, Massama, Portugal, 1994.
Revelações 93, Cooperativa Arvore, Porto, Portugal, 1993.
Deslocações no Silêncio, 3 artists, Galeria Leo, Lisbon, Portugal, 1992.


New York Foundation for the Arts Fellowship, New York, USA, 2009.
Center for Book Arts Residency, New York, USA, 2007.
Triangle Arts Residency, Brooklyn, New York, USA, 2006.
The Marie Walsh Sharpe Art Foundation – The Space Program, New York, USA, 2004-2005.
Lower Manhattan Cultural Council's Residency at the Woolworth Building, New York, USA, 2003.
The Pollock-Krasner Foundation Grant, New York, USA, 2001-2002.
Fundação Calouste Gulbenkian / Fundação Luso-Americana, Lisbon, Portugal, 1997-1999.
AIM - Artists in the Market Place, The Bronx Museum of The Arts, New York, USA, 1997.


Fundação Calouste Gulbenkian CAMJAP, Lisbon, Portugal
Fundação Carmona e Costa, Lisbon, Portugal
Fundação Ilídio Pinho, Porto, Portugal
Colecção de Livros de Artista do Museu de Serralves, Porto, Portugal
Colecção AIP, Lisbon, Portugal
Fundação PLMJ, Lisbon, Portugal
Center for Book Arts, New York
Colecção Amorim Turismo, Portugal
Colecção Marin Gaspar, Portugal.
and Private Collections





Davis Lisboa, “Should museums celebrate elections?”, 2015, printed paper, variable sizes

Archive Box Museum
Curated by Francesca Brusa & Costanza Sartoris

1. Normally, visionary artists generate rejection.
2. Reject traditional museums.
3. Give me a museum and I will change society.
4. The Davis Museum deconstructs the logic of power.
5. The Davis Museum is for the person, not the power.
6. The ballot box is the temple of democratic art.
7. A museum is an activity, not a building.
8. My museum exists. It is not only a question.
9. I founded a ballot box museum in ’09 and collected 1,000,000,000 “Likes” on Facebook.
10. Share your knowledge



GRAHAM BELL TORNADO, “P.I.N.Q. Park Opening Ceremony (2)”,
2014-2015, video performance, 2014-2015, ashes and printed poster, variable size.


Graham Bell Tornado, MA (Hon.) is a transgender artist whose eclectic and experimental cross disciplinary practise (graphic art, video, music and performance) draws parallels between biological and political organisation.

Queer and feminist politics, collaborative processes, a love of nature that is totally unnatural and an aesthetic that combines punk, baroque and contemporary elements inform work which rejects an elitist compartmentalisation and the blinkered world view of the "specialist".

His text-based practise communicates in a poetic way, an ethical position which opposes systems of oppression, domination and control in our society. The creation of alter-egos is another important element - the most recent is Geyserbird, a transgender shaman who performs collaborative rituals as a form of experimental politics.

He has colaborated with Annie Sprinkle, Doran George, Mouse, Ernesto Tomasini and Rampova Kabaret amongst others.


P.I..N.Q. (Post Industrial Natural Queer) Park Opening Ceremony (2) forms part of a project which involves the setting up of a network of parks to protect biodiversity in all its forms- biological and cultural. As part of the ceremony Geyserbird formed a protective circle with flour within which a copy of the Spanish law protecting biodiversity was burned and proceeded to reclaim a disused lot near the artspace Hangar in Barcelona for all those “who have been disinherited from their lands, queers because they don't fit in at home, women because they´re meant to stay indoors, tribes-people in order that big companies can steal their land, and animals because there's just not enough space anymore.

We think all of us need a space to call our own and after a long journey we decided that this was the kind that best reflected our situation. It shows the wounds wreaked upon it by industrial society- who knows what was here before but it is just waiting to be redeveloped.

But today we will plant the seeds that lay our claim and although this space will remain ours only in a symbolic way that will not matter for we will already be gone onto new territories, reclaiming bigger spaces, perhaps even our own country!! a country without frontiers, without machismo, without abuse.

In ancient Egypt when a new building was constructed offerings would be placed in the corner stones of its foundations. This act will form the foundations of this new society of justice, respect and freedom for all - no matter what colour, race, gender or species...."

Graham Bell Tornado


Leeds University (UK) Oct. 1984 - Ag. 1998
B.Sc. (Hon) in Genetics
Universidad Politécnica Valencia, Sept. 2011- Jun.2012
Master in Artistic Production (cum laude).
Currently studying for a Phd in Artistic Production.
Performances (selection):
Monumento/ Memory P(a)lace –performance/ instalation, Jardines Botanicos, Valencia, 20/6/2105
Cabaritual 2.0/15 – La Neomudejar de Atocha, Madrid, 17/4/2015
Antitainment- The Old Hairdressers, Glasgow, 5/10/2014
Book signing – FARTS Festival of performance, CCC Octubre, Valencia, 23/5/2014
¡Fuera!: Homenaje a Ocaña - MACBA, Barcelona, 20/11/2012
Blue Wedding to the Ocean (with Beth Stephens and Annie Sprinkle) - The Fear Society, Pabellón de Murcia, Venice Bienal (Italy), August 2009
Immobility – ICA, London, April 2002


Les Refusées de la Battaglia, July 2014, Mister Pink, Valencia
The Catalogue: A Living Artist ?s Book, January 2014, Kessler Battaglia, Valencia
JackpotJumbleJamboree, July 1999, Showroom Gallery, London
World of Ponce, 1998, The Modern Institute, Glasgow
Jackie Derrida, 1996, Transmission Gallery, Glasgow



FRANCESC TORRES, "Old Flames", 2014, three discarded lighters and video, variable dimentions

Francesc Torres, "OLD FLAMES".

Francesc Torres is a contemporary artist born in Barcelona in 1948, who has lived in Paris, Berlin, Chicago and New York. He has exhibited at the Museum of Modern Art (MoMA), the Whitney Museum of American Art, the San Francisco Museum of Modern Art (SFMOMA), the Museo Nacional Centro de Arte Reina Sofía and the MACBA: Museu d'Art Contemporary de Barcelona, among others. In May 2015, he exhibits his mini installation titled "Old Flames" at the Davis Museum, The Davis Lisboa Mini-Museum of Contemporary Art in Barcelona.


The artistic content of the work of Francesc Torres revolves around the analysis and representation of the relationship between power and politics, history and memory, between the public and the private, through the multimedia installations language, where he combines videos, photos, sounds and objects. Thus, he creates a strategy of appropriation and contextualization of ideas, events and historical conditions that exist outside the specific domain of art.

While all his work revolves around the drama of contemporary history, in "Old Flames" the artist is looking to autobiographical facts.


Francesc Torres is, for many years, a regular visitor to the Costa da Morte in Galicia, Spain, where he made contact with the "crebeira" culture which involves collecting objects on the beach thrown by the sea, including whole shipwrecks. This shows his interest in various forms of social models. The artist has chosen this natural environment as the scene of his video.

The artist makes art with things of the world, with artistic and non-artistic objects that evoke a metaphor for a real experience and emotions, turning them into signs. Tracking the possible stories that are deposited in these objects of our everyday environment, Torres engages the archeology of the present.

The eroded lighters by the marine environment, gathered on a beach in Costa da Morte, are a clear example of that archaeological process, they are like fingerprints of the human condition.

The video installation “Old Flames” exists in a territory between performance, sculpture, event, video and conceptual art. When exposed at the Davis Museum’s Polling Station in Barcelona, enters the realm of collective art.

It comes in a mini format installation consisting of these founded sediments and a video, presented in a continuous loop, which recounts the journey as artistic practice, with a devastating simplicity reminiscent of his early works made in New York. In this way the artist is presented as a documentary filmmaker, performer, collector and archaeologist of today.


The artist selects and organizes the elements of discourse and passes it to the spectator, available for interpretation and the reading: the beach as a book and the anthropological sediment as the words of the sandy book.

Thus viewers recognize themselves in these sediments as the materialization of memory and mystery; and discover a hidden truth, fighting against the time which devours and destroys everything around us in a slow and silent catastrophe.

Francesc Torres's work is intelligent, incisive, unorthodox and relevant and it will continue talking, reflecting and revealing aspects of the human condition to men and women in the future.

Davis Lisboa

April 2015

OLD FLAMES, Francesc Torres.

En la costa gallega existe un oficio viejo. Los que lo practican se llaman "crebeiros", de "creba", el nombre que se da a todo aquello que el mar deposita a su aire en tierra firme: pedazos de madera, boyas, carga perdida durante una tormenta o un naufragio… a veces el propio barco bateado por las olas, etc. Parte de lo que suele aparecer puede no valer nada, pero llegan también cosas que sí son valiosas como, por ejemplo, la famosa y carísima madera de Islandia que no es islandesa sino rusa, traída y curada por el mar. No es de extrañar entonces que haya gente que se dedique a peinar sistemáticamente las playas después de las tormentas buscando los misteriosos objetos que el mar regala. Por ley marina todo aquello que el mar trae o flota a la deriva no tiene dueño, quien lo encuentra lo hace suyo. Con los años esto ha producido más de una confrontación que ha acabado en desgracia. Paso un tiempo en la Costa da Morte cada año, y hace algunos empecé a recoger mecheros de usar y tirar, tipo Bic, porque los encuentro bellos y elocuentes como fósiles del Terciario mostrando los efectos del tiempo en el mar desde que los lanzaran por la borda quizá en otras aguas muy lejos de Fisterra, flotando ¬–nunca se hunden– hasta pillar una corriente o una ola que los escupa, finalmente, a tierra. Tengo montones de mecheros ahogados, ¡qué paradoja!, una pequeña máquina productora de fuego flotando en el en agua desde mucho antes de que yo conociera a mi última amante. Me imagino que eso me hace “crebeiro” de alguna forma. El verano pasado salí una mañana con la cámara de video y encontré tres de ellos en una pequeña playa particularmente pródiga en acumular cultura material desechada. ¿Por qué los encuentro bellos? Porque esta es una belleza trabajada por la naturaleza y el tiempo sobre restos de la cultura industrial que nos define, y es también una belleza auto-referencial cerrada en sí misma y coherente como un texto bien escrito.

Obviamente el título, Old Flames -en inglés- no es neutro. Es una antigua expresión anglosajona que se refiere a los ex amantes –no ex esposos– que uno ha tenido. No me parece necesario, en este caso, insistir sobre las potenciales ramificaciones metafóricas que se encuentran en el punto de conjunción de las palabras y los objetos. Si lo hiciera no podría evitar verme a mí mismo reflejado en la hoja fría de la navaja del tiempo, esa que penetra lenta, tan lenta que cuando te das cuenta ya estás muerto.

Siguiendo con las crebas. Aquí un video sobre el tema con varias vueltas de tuerca.
Llevo años coleccionando mecheros tipo BIC escupidos por el mar. Algunos han estado décadas en el agua y parecen que hayan llegado del Jurásico. Los encuentro maravillosos. "Old Flames", que se puede traducir como viejas llamas, es una expresión anglosajona para referirse a los antiguos amantes. Los cónyuges no cuentan. Son siempre grandes amores que no llegan ninguna parte porque la vida se entromete en ellos, pero que jamás se olvidan. Los dos protagonistas de Casablanca, por ejemplo, son perfectos. Encontrarse con una vieja llama años más tarde puede ser una de las experiencias más jodidas que uno pueda sufrir. Muy literario. Mis mecheros son una buena metáfora visual, pero hay que conocer la expresión y solo funciona en inglés. En el video busco viejas llamas. Le sirve de fondo "My Old Flame" de Charlie Parker, Miles Davies y compañía. Me gusta mucho. Cada vez me satisfacen más las cosas hechas con un zapato y una alpargata, como quien dice...

Francesc Torres

August 11, 20015.



YOKO ONO, Air Capsule, 2014, empty plastic capsule from the Air Dispenser, 1971, Half-a-Wind Show at Guggenheim Bilbao, Spain, 1,3 x 1,1 x 1,1 in


Air Dispensers, 1971

"Air Capsules, 1971/2013. 4 or 5 sweets dispensers were placed in the middle of a large room, for 2 DKKR one could get a small transparent plastic container, empty as it contained only air. I was stunned by the simplicity of the work though it also had several layers of meaning. It’s a joke on our for your convenience society and it tells us that there is no such thing as an empty space."

"Air Dispensers features a candy dispenser filled with seemingly empty capsules. Instead these plastic containers are filled with something valuable— air—which, according to the artist, is “the only thing we share.”


Imagine Peace by Yoko Ono

What is wrong with war, is as Gandhi said: “An eye for an eye will make us all blind”.

I’d like to see the human race wake up to the danger and futility of war as soon as possible.

At the time, in the 60s, we thought we could change the world just like that! But it’s taking a little bit more time!

Imagine all the people living life in peace.

I think that that’s a very strong thing to do.
It might be a very controversial thing to do.
Because it’s a very powerful thing to do.

But I think it’s all right to say that.
I don’t think that goes against the policy of this country or anything like that.

I think, in the end, all people in this country really want peace.

But how to get there, some people are thinking in a different way of course.
But imagining, that’s something that we can all do, even when we have different opinions about how to get there.

Imagining peace, imagining peace.

That’s okay.
That we can all do without feeling the conflict.

War is over if you want it
War is over NOW

Yoko Ono Lennon


Yoko Ono was born on February 18, 1933, in her ancestral estate in Tokyo. Her father, named Eisuke Ono, was the descendant of a 9th Century Emperor of Japan. Her mother, named Isoko Yasuda Ono, was the granddaughter of Zenijiro Yasuda, the founder of Yasuda Bank. Yoko was 2 years old when she was brought to California, and joined her father for the first time. She returned to Japan before WWII and survived the bombings of Tokyo in 1945. Yoko went to school with Emperor Hirohito's two sons. Though boys and girls were separated, Yoko was visited by Emperor's son Yoshi, and in turn she visited the boy's school in defiance of the rules. In the early 50s she and her parents moved to New York. She went to Sarah Lawrence College, where she was particularly adept in music, with her perfect pitch and untamed creativity. She married a Julliard student, Toshi Ichiyanagi, and moved to Manhattan. Her admiration with Franz Kafka, Vincent van Gogh, and Arnold Schönberg gave root and was fertilized by the New York avant-garde scene.

In 1960 Yoko and her friend La Monte Young staged the legendary loft events on Chambers Street. She also provided the loft for John Cage and his ground-braking classes of experimental music. She collaborated with Karlheinz Stockhausen, Nam June Paik, George Maciunas and Fluxus. Yoko cut herself from her parents and was on her own, working as a waitress, an apartment manager, and a music teacher in New York's public schools. In 1962, after separating from Toshi, she gave in to her parents and returned to Japan. There she suffered from a clinical depression, and was locked up in a mental hospital. Anthony Cox went to Japan and managed to release Yoko from captivity. She married Cox in Tokyo the same year, and their daughter, Kyoko, was born in 1963. Cox became her artistic assistant. But in 1964 they separated and Cox returned to New York. Yoko joined him the same year with Kyoko. She dreamed up the concept for 'Bottoms' (1966), completed only after 365 friends and volunteers provided their naked buttocks for close-ups. Her ad was "Intelligent-looking bottoms wanted for filming. Possessors of unintelligent-looking ones need not apply." Yoko promoted 'Bottoms' (1966) by being tied to a bronze lion in London's Trafalgar Square.

She met John Lennon at her art show in London on November 9, 1966. At first they were impressed with each other's intellect, everything else followed later. They married. John was lambasted by the British public. Yoko lost her daughter Kyoko ( ex-husband Cox kidnapped Kyoko in 1971 and hid her under the name Rosemary in the cult The Walk ) for 27 years. Finally in 1998 Yoko and Kyoko reunited. John and Yoko were together 24/7 for six years until their fifteen-month break in 1973-74. Back together again they sustained attacks from the media, politicians, and all kinds of harassers. John and Yoko created art, music, and had a son. They nourished each other's artistic nature with enough humor to survive through almost everything. Almost...
- IMDb Mini Biography By: Steve Shelokhonov


AUGUST 23 - DECEMBER 31, 2013

BILL BURNS, Hou Hanru, 2013,
model paper, 2,95 x 1,57 x 1,96 in.



Hou Hanru Hear us and Beatrix Ruf Protect Us deploy a strategy of playing possum, known in animal behaviour as thanatosis. Thanatosis is a form of self-mimicry whereby the animal mimic imitates itself in a dead state. Here I am asking for deliverance and intercession.
The expressions “priez pour nous”, “protect us”, “delivrez-nous”, “hear us” come from a prayer form known as a litany. Litanies are call and response prayers. The names on these signs and the
other signs in this series such as, Hou Hanru Hear Us or Hans Ulrich Obrist Priez Pour Nous are those of internationally recognized critics, curators and directors.

I don’t consider my stories, drawings or art world celebrity signs to be so much laments about lack of
fairness or injustice as they are cyphers of a bigger picture – of the world we long for. My intent is to
question what constitutes art and how it functions. My project casts a critical eye on the catalogue of art history as well as past and present hagiography. Beatrix Ruf Protect Us asks us to take a critical look at the our situations and our institutions. It asks a question that cannot be answered: “What do we long for?”. This brief is mostly about the idea of the project. The exhibition includes a series of watercolours, a large chalk board, a large sign on a trestle, a pile of carved logs,
a machine for testing art world celebrity work gloves, a series of scale model museums with signs on top of them and some sheep shearing and milking. A related book with stories and essays by Bill Burns, Jennifer Allen, Dan Adler and Dannys Montes de Oca Moreda will be published by YYZ Books, Toronto. It is a project about longing.


Sacha Waldron:
Bill, why do you think its important that Hou Hanru Hears Us?

Bill Burns:
Well I’m not so sure if I want Hou Hanru to hear us so much as to say that I want him to hear us. Part of it for me is a voice, the artist as unreliable narrator if you will. The project uses names from published lists such as Art News’ Power 100. So here Hou stands in for fame, market fetishisation and power. Its not personal - I happen to like him – but it could be someone I don’t know or don’t like. Also its about a kind of celebrity – a very specialised celebrity - most people don’t know who Hou Hanru or Massimiliano Gioni are but they are powerful people whether they like it or not.

Sacha Waldron:
This work is part of a series, can you say a little bit about the other works/models?

Bill Burns:
Yes I’m working on a series. The phrases on the signs come from a prayer known as a litany. They often take the form of entreaties. The scale model in this show, Hou Hanru Hears Us, is a model of the Gallery of Modern Art (GOMA) in Brisbane Australia, I’m working on one for the Poumpidou Centre (Iwona Blazwich Priez Pour Nous) and one of Guggenheim New York (Adam Weinberg Protect Us). There’s also the SF MoMA, and Guggenheim Bilbao in production. The models are detailed and flimsy at 1:500 scale.

Sacha Waldron:
You combine the models of the institutions with the, almost institutions in themselves, names of these curatorial or directorial power houses...are the litanies, prayers or entreaties also to these major institutions? I also wonder what you are entreating them to do? I suppose what I’m trying to get at is what questions are the most important, do you think, to be asking of these people/institutions?

Bill Burns:
Its a mug’s game isn’t it. Yes these are entreaties. On one hand I’m asking these institutions to help me rise in the ranks; this is how artists make a living. On the other I’m commenting on the lack of space to question the relationships of power and how it turns; its not so much against the rules to ask, many artists and curators do, but making the apparatus visible is nearly impossible. These people, and these institutions are subject to power as much as I am.

Sacha Waldron:
Can you talk about scale a little bit in relation to this work and your work in general?

Bill Burns:
Scale in this project has a number of entries for me. First there is the scale of systems such as the artist’s relationship to curators, collectors and other power brokers. And then there is the scale of celebrity and self-aggrandisement. These can be funny or tragic. I work in scale models for a number of other reasons. The ability to see everything from above, the panoptics appeal to me and the delicacy of using the wrong materials at the right time.

Sacha Waldron:
For the installation at the Davis Lisboa Museum at CRATE, Hou Hanru Hear Us sits on a specially cut rock, can you say a little about this?

Bill Burns:
I wanted to play with scale a little bit with the model building and the big rock. Also certain tropes such as Saint Peter who built the Church or Muhammad who went the Mountain come to mind.

Sacha Waldron:
The idea of religion and the fact that art institutions, galleries, museums often seem to be the 'churches' of this religion called art seems to be a key factor. How do you think smaller galleries and art spaces fit in relation to these ideas?

Bill Burns:
That’s an interesting question. I like small spaces as they can make my work bigger – and of course this appeals to the ego of the unreliable narrator/artist in me. But your question goes deeper I think. It does seem that art museums and whatnot bear more than a passing resemblance to the institutions of the Abrahamic religions. I think it’s worth reflecting on.

Sacha Waldron:
You would, I suppose, assume that the art world would more than any other industry would have a more plural outlook in terms of hierarchy, power structures and who we 'worship'. But then art world/art industry it means the same and it is a business so of course it operates on those terms.

Bill Burns:
It is curious in some ways but then again advance industrialism owes a lot to Abrahamic discourse and of course the art world is an important part of that too. But to quote John Baldessari: “the most important thing about a work of art is usually the most obvious”. And the connection between art and money and power is hard to ignore. For me the job is to try to make these relations visible but also to have fun doing it.

Sacha Waldron:
You donated Hou Hanru Hear Us to the Davis Lisboa mini museum, how did your involvement with the Davis Museum begin?

Bill Burns:
I met Davis at the Arnolfini, in Bristol, a couple of years ago. We were both part of an exhibition called the Museum Show curated by Nav Haq. Davis’ project stuck with me.

Sacha Waldron:
Whats next, what are you working on now?

Bill Burns:
I’ve just finished editing a new book – its a memoir about my life in the art world. Its called Hans Ulrich Obrist Hear Us. Its a story of ups and downs and my quest to be part of international art biennials and the like. It will be published by YYZ Books in Toronto this fall.

Sacha Waldron:
Thanks Bill!

You can see Hou Hanru Hear Us at CRATE until September 1st 2013.


Kone Foundation Fellowship, Helsinki, Finland.
Canada House Arts Trust Grant, London, England.

MacDowell Fellowship, Peterborough, New Hampshire.
Leon Levy Foundation Grant, New York.

Danish International Visiting Artist, (DIVA) Danish Arts Agency, Copenhagen.
Canada House Trust Grant, London, England.

2001, 2007, 2008
Department of Foreign Affairs Canada Grant.

Argentina Ministry of Culture Travel Award, Bienal del fin del Mundo, Government of Argentina.

Alcuin Award for Book Design, to Zab Design for Safety Gear for Small  Animals, illustrated and conceived by Bill Burns, Vancouver, Canada.

Best Media Arts Award, (for Machine Guts in collaboration with  Christina Zeidler), Images Festival, Toronto, Canada.

2007, 2009, 2011
Ontario Arts Council, Senior Artist Grant.

2004, 2006, 2009
Toronto Arts Council, Visual Arts.

MacDowell Fellowship, Peterborough, New Hampshire.

1997, 2003, 2006, 2010
Canada Council, Visual Arts – Established Artist Grant.

Pollock-Krasner Foundation Award, New York, USA.
Wellcome Trust, Exhibition Commission, London, England.
University of North Carolina, Weatherspoon Art Museum and Department of Geography, Exhibition and Production Commission, Greensboro, North Carolina, USA.

1996, 2000
Canada Council, New Media Grant.

1995, 2001
Canada Council, Inter-Arts Grant (collective).

Wysing Arts in association with the Royal Society for the Protection of Birds, Production and Exhibition Commission, Cambridge, England.

Overseas Research Scheme Award, ORS, Government of the United Kingdom, (declined for other funding), London, England.

L’APAPE, Foreign Artistic Research Grant, Government of France, Paris, France.


Hippolyte, Helsinki, Finland.

Biennale Internationale St Etienne, France; Credo Bonum Foundation, Sophia, Bulgaria.
Davis Museum, Barcelona, Spain.

Mendel Art Gallery, Saskatoon, Canada.

Mendes – Wood Gallery, Sao Paulo, Brazil.
Klondike Institute for the Arts, Dawson City, Canada.
Nuit Blanche, Toronto, Canada.

Fundacion Cristina Enea, San Sebastian, Spain.
Manif d’art 5, Bienale de Quebec, Canada.
MKG 127, Toronto, Canada.

Kunsthalle KBH, Krabbesholm, Art, Architecture and Design, Skive, Denmark.
Doris McCarthy Art Gallery, University of Toronto, Toronto.

Institute of Contemporary Arts, London, England.
MKG 127, Toronto.
Kitchener-Waterloo Art Gallery, Kitchener, Ontario.
A.M. Richard Fine Art, Brooklyn, New York, USA.

KW – Institute for Contemporary Art, Berlin, Germany.
California State University – Fullerton, Los Angeles, USA.

Amden Utopian Colony, Amden by Zurich, Switzerland Art Gallery of Greater Victoria, Victoria, Canada.

Museum of Contemporary Canadian Art, Toronto.
University of Saskatchewan, Saskatoon, Canada.
Tom Thomson Art Gallery, Owen Sound, Canada.

Saidye Bronfman Centre Art Gallery, Montreal, Canada.

Wellcome Trust, London, England.

Art Resources Transfer, New York.

Plug-in ICA, Winnipeg, Canada.

Art Resources Transfer, New York, USA.

303 Gallery, New York Galerie du Tableau, Marseilles, France.


MASS MoCA, North Adams, USA.

Arnolfini, Bristol, England.

Tensta Konsthall, Spanga, Sweden.
Zentral Bibliothek, Zurich, Switzerland.
Fuglsang Kunstmuseum, Fuglsang, Denmark.
Open Studio, Toronto.

Kunsthallen Brandts Odense, Denmark; Kunsthallen Nikolaj, Copenhagen, Denmark.

Andreas Grimm Galerie, Munich, Germany.
Walter Maciel Gallery, Los Angeles, USA.
AKI, Enschede, The Netherlands.

El Basilisco, Buenos Aires, Argentina.
Orchard 47, (video program), New York, USA.

Safe: Design Takes on Risk, Museum of Modern Art, New York.

Arcadia id est, Centre for the Artist’s Book, Bristol, England.
AKI, Enschede, The Netherlands.
Graham Galleries and Editions, Brisbane, Australia.

Grand Central Art, California State University – Fullerton, Los Angeles, USA.

Seoul Art Museum, Seoul, Korea.

Parker’s Box, Brooklyn, New York, USA.

Weatherspoon Art Museum, University of North Carolina, Greensboro, USA.

Frederieke Taylor Fine Art, New York, USA.

Broadcast, curated by Kim Ables, Los Angeles, USA.

Art in General, New York, USA.

Little Worlds, Dunlop Art Gallery, Regina; Mendel Art Gallery, Saskatoon, USA.

Stedelijk Museum, Amsterdam; Confronting Nature, Guggenheim Gallery, Chapman University, Los Angeles, USA.
Art Hotel, Amsterdam, The Netherlands.

Okay Behavior, 303 Gallery, New York.
Malania Basarab Gallery, London, England.
Université de Québec, Montreal, Canada.

Ecstasy, Dooley Le Cappelaine Gallery, New York, USA.

Post-Morality, Kettle’s Yard, Cambridge University, Cambridge, England California State University Fullerton, Los Angeles, USA.


Cabinet des estampes, (editions), Geneva, Switzerland.
Hoggard Wagner Art Collection, (editions), New York, USA.
Wellcome Trust, (sculpture, ephemera and drawings) London, England.
Yvonne Fleck, (sculpture/installation) Toronto, Canada.
Joan Flasch Book Collection, Chicago Art Institute, Chicago, USA.
MacDowell Colony, (video and editions) Peterborough, New Hampshire, USA.
Mowry Chaplick, (sculpture) Toronto, Canada.
Toronto; National Gallery of Canada (editions, prints) Ottawa, Canada.
Susie Koolian, (photographs) Toronto, Canada.
Charles Bendit, (drawings) New York, USA.
William English, (photographs) London, England.
Mendel Art Gallery, (photographs and editions) Saskatoon, Canada.
Victoria and Albert Museum, (books/editions) London, England.
Museum of Modern Art, (books and editions) New York, USA.
Albright-Knox Art Gallery, (books) Buffalo, New York, USA.
Tate Britain, (books and editions) London, England.
The Getty Center, (books and editions) Los Angeles, USA.
Robert Menschel Media Arts Center, University of Syracuse, (photographs) Syracuse, New York, USA.
Roman Kurtzmeier, (photos, editions), Basel, Switzerland.
Saskatchewan Arts Board, (drawings) Regina, Canada.
Otis College of Art, (books) Los Angeles, USA.
Mackenzie Art Gallery, (sculpture, books, photographs and drawings), Regina, Canada.
Carnegie-Melon University, Artists’ Books, (books and editions) Pittsburgh
Weatherspoon Art Museum, University of North Carolina, (books and editions), Greensboro, USA.
Dunlop Art Gallery, Regina Public Library, (photographs) Regina, Canada.
Cleveland Art Institute, Lund Collection, (print and book collection) Cleveland; Musee de Marimont, (books and prints) Marimont, Belgium.
Bristol School of Art and Design, (books and prints) Bristol, England.


Dogs and Boats and Airplanes Children’s Choir, 33RPM record, Big Pond Small Fish Productions, Toronto, Canada.

Dogs and Boats and Airplanes, Nuit Blanche, Toronto, Canada.

Bird Radio for Banff, Banff Centre for the Arts, Banff, Canada.
0-800.0FAUNA0FLORA, Institute of Contemporary Arts, London, England.

Bird Radio/Vogelradio for Berlin, KW Institute for Contemporary Art, Berlin, Germany.

Bird Songs for Seoul, Seoul Museum of Art, Seoul, Korea.

Bird Songs for Cambridge, Wysing Arts, Cambridgeshire, England.
Weatherspoon Art Museum, University of North Carolina, Greensboro, USA.

1-800-ECOSFEAR, The Banff Centre and Art Resources Transfer, New York, USA.


Dogs and Boats and Airplane Choir, Junction Festival, Tasmania, Australia.

Dogs and Boats and Airplanes, Titus Auditorium, a reading at the Artists’ books conference, Museum of Modern Art, New York, a reading from The Flora and Fauna Information Service, ICA, London, England.

Bird Songs for Tierra del Fuego, Bienal del Fin del Mundo, Ushuaia, Argentina.

How to Help Animals Escape from Natural History, a reading as part of Archivos Visitas, University of Buenos Aires, Buenos Aires, Argentina.

Safety Gear for Small Animals, a reading in collaboration with Annette Hurtig, Forum Arte Vida, Museo de Belles Artes, Havana Biennial, Havana, Cuba.

Rescue Vehicles for Small Animals, a reading, Wysing Arts, Cambridge, England.

How to Help Animals Escape from Natural History, project room, (moose version), American Fine Arts, New York, USA.


Hans Ulrich Obrist Hear Us, YYZ Books, Toronto, in preparation.

Ivan the Terrible told in the form of Dogs and Boats and Airplanes, Space Poetry, Copenhagen, Denmark.

Two Boiler Suits and a Play List: A Guide for Primates, YYZ, Toronto, Canada.

The Flora and Fauna Information Service: 0.800.0FAUNA0FLORA, Institute of Contemporary Arts, London, England.
Dogs and Boats and Airplanes (bound postcard version), MKG127, Toronto, Canada.

Bird Radio, KW ICA (Kunst-Werke), Berlin, KWAG, Kitchener and Walther Koenig Books, Cologne, Germany.

Urban Fauna Information Station, (Burns, Gould, Vatnsdal, collaboration), Flock Gaggle Herd and Mercer Union, Montreal and Toronto, Canada.

Footprints of Animals Wearing Safety Gear, English Editions, London, England.

Songs of Birds Wearing Safety Gear, Plug-in Editions, Winnipeg, Canada.

How to Help Animals Escape from Degraded Habitats, Editions Optica, Montreal, Canada.

Safety Gear for Small Animals (red version), 303 Gallery, New York, USA.

Analgesia, Editions Rochefort, Montreal, Canada.
Okay Behavior, collective edition, 303 Gallery, New York, USA.


Fine Points of Memory, with Krys Verrall, Money Value Art, McKay and Patterson editors, YYZ Books, Toronto, Canada.

When Pain Strikes, a book about pain and its relief, (Burns, Busby, Sawchuk editors and contributors) University of Minnesota Press, Minneapolis, USA.


Dogs and Boats and Airplanes, Prefix Photo Magazine, Toronto, Canada.
Bird Radio for Afghanistan,  C- Magazine, Toronto
How to Help Animals Escape from Natural History, (photo), ETC, Montreal, Canada.

The Last Book, contribution to anthology edited by Luis Canmitzer, National Library of Argentina, Buenos Aires, Argentina.

The Eggs of Endangered and Threatened Birds, Public, Toronto, Canada.

The Story of the Museum of Safety Gear for Small Animals, Alphabet City, Toronto, Canada.

Art Dealer Work Gloves, William English Editions, London, England.

How to Help Animals Escape from Natural History, (bear version), HQ Magazine, Sydney, Australia.

How to Help Animals Escape from Natural History, (penguins and deer versions), Harper’s Magazine, New York, USA.

How to Help Animals Escape from Natural History, trading cards series #1, Dunlop Art Gallery, Regina, Canada.

The Needs of Animals, story, RE/Search, New York and San Francisco, USA.

The Violence of Chocolate, story in catalogue, The Stedelijk Museum, Amsterdam, The Nederlands.

Ste. Therese, le diable, et le Tylenol, cover, Spirale, Montreal, Canada.
Canoe Paddle Shiatsu, artist’s project, Semiotext(e), New York, USA.
Montreal Mapping Project for The Splinter, map, The Splinter, Toronto, USA.
In the Line of Fire, essay/artist’s project, Publicsfear, New York, USA.
The Story of Pill Mine and Painkiller Factory, FAT, New York, USA.


JUNY 1 - AUGUST 30, 2013

MYRIAM THYES, Global Vulva, 2009, Flash animation
digital video (HD), black/white, stereo, 6:20, loop.

Space: Fundació Antoni Tàpies

Music: Kristina Kanders.

Dance: Flamenco Joy


My themes deal with symbols, myths and visual signs from architecture, politics, films, and religions. My artworks are explorations of their meanings, a questioning, reassessments, and creations of new associations. In order to undermine entrenched representations, I work directly with them, to develop them further, transform them and juxtapose them against new representations. My works are conceptual and sensual at the same time, proposing that simplicity and imagination can still move us. Using animation, abstraction, and found footage, I present critical views of political, social and religious systems. Symbols and mythic figures undergo transformations, start to communicate and build new relations - symbols of identities turn into elements of dialogues.


The animation Global Vulva connects female figures and vulva symbols from different times, countries and cultures, while they morph into each other - the cultural meaning of the female genital becomes visible again.

You'll see paleolithic engravings, the Greek goddess Baubo, a winged woman from an ice-age culture in Siberia, an Irish Sheila-na-gig, drawings of vulvas and of their symbols, the Indian goddess Kali and a Yoni stone, the Tibetan goddess Naljorma Dewa, a statue of a noble ancestor of the lwena in Angola, the Aztec goddess Mayahuel, the Black Stone at the Kaaba in Mecca, a double-tailed mermaid from a church in Tuscany, the protecting Dilukai from Micronesia, hands forming the mudra 'Lotus and Bee' in a labyrinth, an amulet of the Egyptian goddess Hathor, a winged sun disk, and the oldest human figure ever found, the so called Venus of Hohle Fels.

Otherwise separated visualisations are interweaved, resulting in a more complex and global view on their symbolic levels.


Myriam Thyes is a new media artist from Switzerland, living in Germany.

1986-92 Academy of Fine Arts, Dusseldorf, Prof. Nan Hoover.
Since 1994, Thyes participates in exhibitions and festivals internationally.
Artistic media: video art, animation, photography and digital imagery. Initiates and realizes as well participatory projects and media art projects in public space.
Best known works: participatory animation project Flag Metamorphoses; video installation Malta As Metaphor.
Fundings by: City of Dusseldorf, Swiss Federal Office of Culture (2004, 2007), Swiss Arts Council Pro Helvetia (six times, 2004-2012), State of Luxembourg, State of Northrhein-Westfalia (Germany).
AIR: Cité Internationale des Arts, Paris (1990); Malta (2006); Glasgow, UK (2008); Macedonia (2010).

Awards: Depict! Award 2005, Encounters Festival, Bristol, UK; MultiMedia Prize 2006, Avanca Festival, Portugal.

Nominations: Marler Videokunst-Preis, Germany 2004; Screengrab New Media Art Award, Australia 2009.

Publications: UmBildungen / ReVisions (2007); Glasgow Styles / Magnify Malta (2012), both Kehrer Verlag Heidelberg.


1984-85 ZHdK Zürcher Hochschule der Künste, Schweiz. (damals genannt: Höhere Schule für Gestaltung)

1986-92 Kunstakademie Düsseldorf, Prof. Nan Hoover, Meisterschülerin.


2013, 8-9 Beyond Glasgow, Kunstverein Aurich, DE.

2012, 9 Flag Metamorphoses, Künstlerzeche Unser Fritz 2/3, Herne, DE.

2012, 1-3 Glasgow Styles / Magnify Malta, Kunstverein Duisburg, DE.?

2010, 11 - 2011, 1 Malta As Metaphor, Kunstverein Bochumer Kulturrat, Bochum, DE.

2010, 9-10 Flag Metamorphoses, ON-OFF Artprojects, Hamburg, DE.

2010, 4 Flag Metamorphoses, Halle Zehn, Cap Cologne, Köln, DE.?

2009,11 Virtual Therapy, PRAXIS Projektatelier Staab, Cologne (Köln), DE.?

2009, 9-10 Glasgow Styles, relate art gallery, Meilen / Zurich, Switzerland.?

2009, 6-8 Speeded Up Flags and Slowed Down Heroes, Kunstverein Rhein-Sieg, Siegburg, DE.?

2006, 9-10 Flag Metamorphoses on the Big Screen! Central stations of Zurich, Basel, Bern, Geneva (Switzerland). / PROGR, Bern.

2005 Commercio Gallery, Zurich, Switzerland.?

2005 The Matrix at Lake Zurich, installation in public space, ArtBox Thalwil, Zurich, Switzerland.?

2003 Relationship Patterns, video-installation and paintings, Kunstverein Emmerich, Germany.?

1999 BeziehungsMuster, for the 70th birthday of Anne Frank, Frank-Loebsches Haus, Landau, Germany.?

1997 as large as life, association for contemporary art, steirischer herbst, Graz, Austria.?

1997 Wishes and Warnings in the Wind II, flags installation in public space, Luxembourg, Luxembourg.?

1997 Festival International, Echternach, Luxembourg.?

1996 Wishes and Warnings in the Wind, flags installation in public space, Dusseldorf, Germany.


2007, 5-6 Highlights from the KunstFilmBiennale, Istanbul Modern Museum, Istanbul, Turkey.

2007, 4-5 Timeloop, Street Level Photoworks, Glasgow, UK.

2006, 9-10 Highlights from the KunstFilmBiennale, KW institute for contemporary art, Berlin, Germany.

2006, 9-10 Pixel Pops!, c2c gallery, Prague, Czech Republic.

2006, 9 Paraflows - Annual Convention for Digital Arts and Cultures, Vienna, Austria.

2006, 5-7 Eastern Alliance, MNAC National Museum of Contemporary Art, Bucharest, Romania.

2006, 3-4 FILE RIO, Electronic Language Intl. Festival, exhibition and symposium, Oi Futuro, Rio de Janeiro, Brazil.

2006, 2-3 Pac?o das Artes, museum for contemporary art, Sa?o Paulo, Brazil.

2005, 12 VideoDictionary, Casco Projects, Impakt Media Art Festival, Utrecht, Netherlands.

2005, 11 KunstFilmBiennale, Ko?lnischer Kunstverein, Cologne, Germany.

2005, 10-12 VideoDictionary, Centre d' Art Santa Mo?nica, Barcelona, Spain.

2005, 9-10 11th Marler Videokunst-Preis at: Foro Artistico, Hannover, Germany.

2005, 7-9 VideoDictionary, La Casa Encendida, Madrid, Spain.

2005, 7-9 11th Marler Videokunst-Preis at: Gallery of the town of Lu?denscheid, Germany.

2005, 7-8 Prog:ME, media art exhibition, Centro Cultural Telemar (now: Oi Futuro), Rio de Janeiro, Brazil.

2004, 5 11th Marler Videokunst-Preis at: ZKMax, Munich, and Lothringer 13, Munich, Germany.

2004, 2 STRICTLY PUBLIC – videoart on public videoboard, Transmediale.04, Berlin, Germany.

2002 Babushka, videoart and photography, cinema foyer, Kunsthalle Basel, Switzerland.

STRICTLYPUBLIC - video art in 26 Main Stations in Germany. Organiser: BVDG, Association of Art Galleries in Germany.

2001 Artscreen – videoart in subway stations. Opening / video installation: Museum Kunstpalast, Dusseldorf.

2000 Artscreen – videoart in subway stations. Opening / screening: Kunsthalle Dusseldorf.

1997 as large as life, association for contemporary art, steirischer herbst, Graz, Austria.

1994 Treibhaus 6, Museum Kunstpalast, Dusseldorf, Germany.


2004 - 2012 Die Schweizer Kulturstiftung Pro Helvetia unterstützt Einzelausstellungen und Ausstellungsbeteiligungen.

2010, 8 AIR bei Galichnik Art Colony, Mavrovo-Gebiet / Ohrid / Skopje, Mazedonien.

2008, 10 Pilotprojekt Gropiusstadt, Berlin.

2008, 8 + 9 AIR in Glasgow (Schottland, UK), Stipendium der Städte Düsseldorf und Glasgow.

2007 Das Bundesamt für Kultur der Schweiz (BAK) fördert die Videoinstallation MALTA AS METAPHOR.

2006, 7 MultiMedia Prize für FLAG METAMORPHOSES, Avança Festival, Portugal.

2006, 2 AIR bei 'GOZO contemporary', Gozo, Malta.

2005 Depict! Award, Encounters Short Film Festival, Bristol, UK, für ASCENSION.

2004 Das Bundesamt für Kultur der Schweiz (BAK) fördert FLAG METAMORPHOSES.

1997 Kulturministerium und Kunstmuseum Luxemburg fördern Flaggen-Installation in Luxemburg.

1996 Kulturamt Düsseldorf und Kulturministerium NRW fördern Flaggen-Installation in Düsseldorf.

1990, 4 - 9 Cité Internationale des Arts, Paris: Stipendium der Kunstakademie Düsseldorf / Ministerium für Wissenschaft und Forschung NRW.


JANUARY 1 - APRIL 30, 2013

Tomorrow & Yesterday, 2012, cylinder seal, polyurethane resin, 6,1 x 1,9 in


Miho Shimizu and Øyvind Renberg’s Danger Museum started as a mobile exhibition space, travelling and adapting its structure to present the works of friends and colleagues. Over the years, the experience of travel, personal encounters and adaptation has encouraged the production of reflexive, visual works and objects by engaging the method of collage as a form of collecting, which recomposes experiences, mixing fiction and documentation.

Their interest in applied art and series production is reflected in projects that encompass multiples, furniture, posters, LPs and tableware. The change in meaning as the objects circulate within and outside the art context, is part of a dynamic that drives their practice.
Projects are conducted both under their own names and as Danger Museum and through the Peanut Circuit label.

Tomorrow & Yesterday, produced for Davis Museum, extends from a series of works inspired by the Japanese picture scroll. Shimizu and Renberg have already explored the scroll's narrative possibilities in watercolours serializing a Norwegian fjord trip. Tomorrow & Yesterday is a cylinder seal, an engraved sculpture cylinder tool, originating in ancient Mesopotamia, that can roll a picture relief into wet clay. Their relief depicts an allegory on the relationship between man and woman: A man hunts a bird, whose egg hatches into a new bird that hunts the man. By continuous rolling, the relief proposes an endless cycle.


Born in Tokyo and Oslo respectively, Miho Shimizu and Øyvind Renberg started collaborating while at Goldsmiths College in the late nineties. Their practice includes object and image production, and occasionally collaborations with other artists. Projects are often generated as reflections of a given context - from the art institution, to music, travels, or visual culture in its broadest sense.
Works by Shimizu and Renberg have been exhibited at inIVA (London), Sparwasser HQ (Berlin), Art Space Hue (Seoul), Art in General (New York), Galeria Arsenal (Bialystok), Arnolfini Gallery (Bristol), and Preus Museum, Oslo Kunstforening, Stenersen Museum and UKS (Norway). Residencies include Ssamziespace (Seoul) and Peacock Visual Arts (Aberdeen). Most recently they have completed a commissioned project for Hordaland Art Center, Norway.

MIHO SHIMIZU b.1976 in Tokyo
1998 - 2001: BA Fine Art, Goldsmiths College, University of London, UK
2008-09: MA Fine Art, TAIK, Helsinki, Finland
2009-11: MA Fine Art, Kunstakademiet, Oslo, Norway / Piet Zwart Institute, Rotterdam

ØYVIND RENBERG b.1976 in Oslo
1995 - 1996: Einar Granum kunstskole, Oslo
1996 - 1997: Camberwell College, Foundation Course, London
1997 - 2000: BA Fine Art, Goldsmiths College, University of London, UK


2013 Barrier Beautification Project, NYCDOT, New York, outdoors
2013 Davis Museum, Barcelona, Spain
2012 Beat Audition, Smallroomevents, Berlin
2012 Multiple Choices Book, co produced with Alex Villar, Ana Linneman. Published by Oslo kunstforening
2012 Open Studio, Kurt Kurt, Berlin
2012 Multiple Choices, KARST, Plymouth, UK
2011-12 Museum Show, curator Nav Haq, Arnolfini Gallery, Bristol, UK2011
2011-12 Open Studio, Kurt Kurt, Berlin
2011 Damsgaard, Kabuso, Øystese, curator Anne Szefer Karlsen, Norway
2010 Benefit Auction and Gala, Flux Factory, New York, USA
2010 Bodies of Dispersion: Mechanisms of Distention, curator Denise Carvalho, Galeria Arsenal, Bialystok, Poland
2010 Upstream, HKS, Bergen, curator Anne Szefer Karlsen, Bergen, Norway
2010 Virgin Bar, Seoul, Korea
2009 Visuelt, DogA, Oslo, Norway
2009 Recharged, Helsinki City Museum, Finland
2009 Rio porcelain 2009 edition, DOGA, Oslo, Norway
2008 Rio porcelain, Sound of Mu, Oslo, Norway
2008 Rio porcelain, Tou Scene, Stavanger 2008 / European Capital of Culture, Stavanger, Norway
2008 Danger Museum: Recycled, curator Kyongfa Che, UKS, Oslo, Norway
2008 Reality Bliss, curator Kjetil Skøien and Mette Cecilie Monsen, Kunstverket, Oslo Norway
2008 Background, curators Susanne Ø. Sæther and Jonas Ekeberg, Preus Museum, Horten Norway
2008 Radio Hue publication, Mediabus at Artsonje Center, Seoul, South Korea
2008 Multiple Choices, All of the above, Oslo Kunstforening, Oslo, Norway
2007 Seja Marginal, Seja Heroi, curator Sebastian Ramirez, Wysing Arts centre, Cambridge, UK
2006 Re-Shuffle: Notions of an Itinerant Museum, Center for Curatorial Studies, Bard College, Art in General, New York, USA
2005 Opacity, curators Trude Iversen / Nina Möntmann, UKS, Oslo, Norway
2005 Boundless, curator Henry Meyric Hughes, Stenersenmuseet / National Touring Exhibitions, Oslo, Norway
2005 Aberdeen Art Gallery & Museums, Aberdeen, Scotland
2005 An Clar Glas, during the Locale Residency, Peacock, Aberdeen, Scotland
2004 – 05 Blow-In, curator Grant Watson, Cork Public Museum, for The Cork Midsummer Festival / Cork 2005: European Capital of Culture, Cork, Ireland
2004 SSamzie Collection, Seoul, Korea
2004 Connect The Dots, Te LeRoy Neiman Gallery, Columbia University, NY, USA
2004 Young Artist Network, Sum of the Contemporary Art, Daegu Culture and Arts Center, Daegu Korea
2004 SSamziespace Open Studio Residency Exhibition, SSamziespace, Seoul, Korea
2004 Old habits die hard : 50 videos selected by artist-run spaces and collectives, curated by Sparwasser HQ, touring: Sparwasser HQ Berlin, Hamburger Banhof Berlin, Norwich Gallery Norwich UK, Kunstnernes hus Oslo, Norway
2004 Thinking Archives. Archiving Thoughts, curator Heman Chong, Sparwasser HQ, Berlin, Germany
2004 Radio Hue, With Joo young Lee, Art Space Hue, Seoul, Korea
2003 Peanut Circuit, with Arve Rød, Norwegian sculpture biennial 2003, curator Dorthe Abildgaard, Vigeland museum, Oslo, Norway
2003 How Latitudes Become Forms: Art In A Global Age (Internet streaming program), curator Steve Dietz, The Walker Art Center, Minneapolis, USA
2002 Contemplation Room, curated by Kristine Agergaard, Cecilie Gravesen, Lasse Johansson, Overgaden / public spaces, Copenhagen, Denmark
2002 The Show, Insa Art Space, curator Dusu Choi, Seoul, Korea
2002 Various 2001-12: Arts Council Norway, Japan Foundation, EU-Japan Fest, OCA, Korean Arts & Culture Foun¬dation, Statens kunstnerstipend Norway, Vederlagsfondet, ‘Ambrosius Legat 2006’.
2002 The Danger Museum, curator Melanie Keen, Space@inIVA, Institute Of International Visual Arts (inIVA) London, England


Sean Miller | Ben Patterson | Connie Hwang

Museum Grounds


Sean Miller joined the UF faculty in the fall of 1999. Miller has exhibited internationally at venues such as: ACC Galerie (Weimar, Germany), Deitch Projects Art Parade (New York), National Museum of Ireland (Dublin), Schalter Gallery (Berlin), Spazio Utopia (Campagna, Italy), Indianapolis Museum of Art, Contemporary Museum (Baltimore), Aqua Art Fair (Miami Beach), Golden Thread Gallery (Belfast, N. Ireland), Catalyst Arts (Belfast, N. Ireland), UICA (Michigan), CoCA (Seattle), COCA (St. Louis), Post Gallery (Los Angeles), Howard House Gallery (Seattle), Saltworks (Atlanta), Roq La Rue Gallery (Seattle), Limerick City Gallery (Limerick, Ireland), Museo Raccolte Frugone (Genoa, Italy), UnimediaModern Contemporary Art (Genoa, Italy), Villa Croce Museo d’Arte Contemporanea (Genoa, Italy), and HorseHead Outdoor Sculpture Exhibition in (Seattle and Belfast, N. Ireland). Miller was a co-founder of SOIL Gallery/Collective (Seattle, Washington), a prominent fifteen year-old Seattle gallery. In addition, Miller was a contributing writer for the book SOIL: Seattle's Artist-Run Gallery 1995 > 2005. This book commemorates, documents, and explores 10 years of activity, thought, and collaboration by prominent artists of the Northwest.
Sean Miller’s six year project is the John Erickson Museum of Art (JEMA). Miller, JEMA’s Director/Founder, operates this location variable museum and features exhibiting artists as exhibitors/collaborators. JEMA has exhibited and collaborated with artists such as Yoko Ono, Ben Patterson, John Feodorov, Gregory Green, Kristin Lucas, Arnold Mesches, Andrea Robbins and Max Becher, Bethany Taylor, Sean Taylor, Sergio Vega, and more. JEMA’s mission is to display and collect innovative and provocative contemporary art and/or offer exhibitions that allow people to think differently about the nature of art and art practice. JEMA’s design allows it to perform and embody numerous aspects of art and art practice in a simultaneous manner. JEMA is a museum, display case, crate, exhibition space, sculpture, photographic series, performance, installation, site-specific project, collaboration and web-based project. It involves nearly all the realms of art practice and the business of art, revitalizing the roles of curator, artist, and viewer.??Miller’s work explores situations, practices, and information that sustain and define existing power structures in contemporary art and politics. His art employs obsessive activities, absurd scenarios, humor, and extreme aesthetics in order to introduce objects and events that question existing categorical and organizational methods within these hierarchal structures. Miller has produced major works and solo exhibitions utilizing photography, painting, sculpture, installation, performance, and web-based work. He values collaboration, collective action, multi-media art, relational aesthetics, and alternative art venues.??Sean Miller's work has been reviewed, published, or broadcast in: New Art Examiner, Sculpture Magazine, Art Papers, New York Times, The Nation, Textile: The Journal of Cloth and Culture, Baltimore Sun, LA Weekly, Seattle Times, Seattle Post-Intelligencer, Atlanta Journal-Constitution, Miami New Times, Daytona Beach News-Journal, The Stranger, Seattle Weekly, ArtStar “Six in the City” Reality Television, Gallery HD, Dish Network (2008), NVTV Interview, “In Conversation With” Katie Larmour, Northern Visions Media Centre, April 21, 2008. “How to Start Your Own Country” (2009) Documentary by Jodi Shapiro.


Sean Miller’s work explores situations, practices, and information that sustain and define existing power structures in contemporary art and politics. Miller employs obsessive activities, absurd scenarios, humor, and extreme aesthetics, in order to introduce objects and events that question existing categorical and organizational methods within these hierarchal structures. Miller has produced major works and solo exhibitions utilizing photography, painting, sculpture, installation, performance, and web-based work. Miller’s processes involve the utilization of collaboration, collective action, multi-media art, relational aesthetics, and alternative art venues. Miller is a Florida-based artist, curator, and an Assistant Professor at University of Florida where he teaches sculpture and the Workshop for Art Research and Practice. Prior to moving to Florida, Miller lived in Seattle, Washington where he co-founded Soil Collective and Gallery and worked at the Seattle Art Museum and King County Art Commission.

Miller’s current work involves The John Erickson Museum of Art (JEMA), a six-year old museum and a conceptual, generative, art project. As a location variable museum, JEMA regularly works with international artists to realize projects that require mobility, multi-destinational site-specificity. By moving with stealth and agility, JEMA offers a vital, yet affordable, museum space and supports the quick, decisive, and efficient delivery of art to the viewing public. JEMA’s galleries are traditionally housed in a series of 16"x12"x9" aluminum carrying cases however recent museum initiatives have provided several other unconventional spaces (in proposal). The museum’s mission is to display and collect innovative and provocative contemporary art and/or offer exhibitions that destabilize traditional notions about the nature of art and art practice. JEMA’s design allows it to perform and embody numerous aspects of art and art practice in a simultaneous manner. JEMA is a museum, display case, crate, exhibition space, sculpture, photographic series, performance, installation, site-specific project, collaboration and web-based project. It involves nearly all the realms of art practice and seeks to revitalize the roles of curator, artist, and viewer. JEMA has exhibited and collaborated with artists such as Yoko Ono, Ben Patterson, John Feodorov, Gregory Green, Kristin Lucas, Arnold Mesches, Andrea Robbins/Max Becher, Sergio Vega, and more.

Sean Miller has exhibited internationally at venues such as: ACC Galerie (Weimar, Germany), Deitch Projects Art Parade (New York), National Museum of Ireland (Dublin), Schalter Gallery (Berlin), Spazio Utopia (Campagna, Italy), Indianapolis Museum of Art, Contemporary Museum (Baltimore), Aqua Art Fair (Miami Beach), Golden Thread Gallery (Belfast, N. Ireland), Catalyst Arts (Belfast, N. Ireland), UICA (Michigan), CoCA (Seattle), COCA (St. Louis), Post Gallery (Los Angeles), Howard House Gallery (Seattle), SOIL (Seattle), Saltworks (Atlanta), Roq La Rue Gallery (Seattle), Limerick City Gallery (Limerick, Ireland), Museo Raccolte Frugone (Genoa, Italy), UnimediaModern Contemporary Art (Genoa, Italy), Villa Croce Museo d’Arte Contemporanea (Genoa, Italy), and HorseHead Outdoor Sculpture Exhibition in (Seattle and Belfast, N. Ireland). My work has been reviewed, published, or broadcast in: New Art Examiner, Sculpture Magazine, Art Papers, New York Times, The Nation, Textile: The Journal of Cloth and Culture, Baltimore Sun, LA Weekly, Seattle Times, Seattle Post-Intelligencer, Atlanta Journal-Constitution, Miami New Times, Daytona Beach News-Journal, The Stranger, Seattle Weekly, ArtStar “Six in the City” Reality Television, Gallery HD, Dish Network (2008), NVTV Interview, “In Conversation With” Katie Larmour, Northern Visions Media Centre, April 21, 2008, Belfast, Northern Ireland, “How to Start Your Own Country” (2009) Documentary Film by Jodi Shapiro.


1994 University of Colorado at Boulder, M.F.A.
1991 Iowa State University, Ames, IA, B.F.A.


1999-09 University of Florida, Assistant Professor, Courses Taught:
• Workshop on Art Research and Practice (WARP), Lecture & Studio.
• Graduate Sculpture Seminar
• Interdisciplinary Studio, Site-Specificity, Performance, and Installation.
• Drawing: Movement and Motion & Form and Space.
• UF Summer Study Abroad in Ireland, Burren College.

1998-99 King County Arts Commission, Gallery & Portable Works Coordinator, Seattle, WA.

1995-99 Soil Collective/Gallery, Founding Member/Co-Curator.


2006 John Erickson Museum of Art, Urban Institute of Contemporary Art, Portal Space, Grand Rapids, MI.

2004 A Charge to Keep, Hardman Hall Gallery, Mercer University, Macon, GA.

2002 Clean Break, Roq La Rue, Seattle, WA.

1998 The Show, Soil, Seattle, WA.

1996 Soil Juice Love Network, King County Gallery, Seattle, WA.

1994 Stick 'em Up, University of Colorado Galleries, Boulder, CO.


2004 John Erickson Museum of Art, Lander Art Center, Curator: Lorre Hoffman, Lander, WY.

2000 Miller’s Crossing, (with Jesse Miller), Howard House, Seattle, WA.

1997 Wild Kingdom, (with Blair Wilson) Soil, Seattle. WA.

1994 Recent Works Coleman/Miller, (with Craig Coleman) Edge Gallery, Denver, CO.

2010 City Reliquary Museum at the Knitting Factory, Collector’s Night, Performance: Art Museum Dust Acquisitions: Points of Access and Departure, Brooklyn, New York, 2010.

Museum All-Over/Museo Ovunque, Raccolte Frugone Museum, Nervi, Italy, June 5th- August 26th,

Art Museum Dust Multiples, Printed Matter, juried into the products sold at Printed Matter and featured
on website, NY, NY, Juried in Oct. 2010-ongoing.

Small Wonder, Golden Thread Gallery, Belfast, Northern Ireland, June 3-17, 2010.

Group Show, UnimediaModern, Genoa, Italy, June 5th- June 30th, 2010.

2009 More Than, Key Tower Gallery, Curator: Blake Haygood, June-0ct. 2009, Seattle, WA.

Art Museum Dust Collection, UnimediaModern Gallery, (Museum Performance Interventions w/LuLu LoLo), Curator: Caterina Gualco, intervention at Villa Croce Museo d'Arte Contemporanea, Museo di Strada Nuova, Museo di Nervi, Galleria d’Arte Moderna, Genoa, and Unimedia Modern Gallery, Genoa, Italy, March 11-15, 2009.

JEMA Annex Belfast: Performance/Intervention (with members of Flax Art Studios and students from Ulster University), Ulster University, Belfast, N. Ireland, March 9th, 2009.
2008 Merge Visual (Catalogue), Museum of Arts and Sciences, Curator: Craig Coleman, JEMA with Connie Hwang and Kelly Cobb, Art Museum Dust Collection Montage, Kristin Lucas, Outside, Macon, GA, September, 2008.

Online Exhibition @, Curator by Jack Stenner, JEMA included for website, website by Marcia Lyons, Nov. 2008. Marcia Lyons, Director Digital Media Design, Victoria University of Wellington, (New Zealand).

RASSEGNA DELL'ACQUA-La Chiena, 2008, Spazio Utopia Contemporary Art, JEMA with LuLu LoLo, Sculpting and Collecting Campagna Connie Hwang, Art Museum Dust Collection Montage,
Campagna, Italy, July 15–August 16, 2008.

Cottage Industry, (Catalogue), Contemporary Museum, Baltimore, curated by Kristin Chambers and Irene Hofman, Baltimore, MD., May 31 - August 24th, 2008.

On Procession (Catalogue), Indianapolis Museum of Art, curated by Deitch Projects/Rebecca Uchill, Indianapolis, May 2nd-August 10, 2008.

44th Annual University of Florida Faculty Exhibition, Samuel P. Harn Museum of Art, University of Florida, Gainesville, FL., August, 2006.

JEMA Public Forum Project with Gregory Green and Yoko Ono, Golden Thread Gallery and Flax Art Studios, Belfast N. Ireland, April 2008.

Stammtisch. Suchtrupp. Gartenarbeit., ACC Galerie, (Letters to the Outside), JEMA Archive, and JEMA Mailroom for Kristin Lucas's Outside public forum project, Weimar, Germany, March 29–May 18, 2008.

Packed, University Gallery, Stetson University, Stetson Deland, Florida, February-March, 2008.
2007 Deitch Projects Art Parade, Deitch Projects, JEMA in collaboration with Arnold Mesches, John Kieltyka, Saya Moriyasu, and Sean Taylor, New York, NY, Sept. 8, 2007.

Guest Curator, Schalter Gallery, with John Feodorov, dead houses,? Berlin, Germany, July 13-August 11,

2007 On the Outside, ACC Galerie, JEMA Letters to the Outside and Outside Accession Kits, in collaboration with Kristin Lucas, an exhibition and public forum project, for the ACC Galerie Weimar/the City of Weimar, Germany, April - June, 2007.

Das Kleinkunstlabyrinth,? ACC Galerie, Outside: Public Forum Discussion and Performance, collaboration w/Kristin Lucas,? Weimar, Germany, May 20, 2007.

Outside, Fotothek (Art Space), Photos and Letters to the Outside: Interactive Public Performance, Collaboration with Kristin Lucas, Weimar, Germany, May 18, 2007.

100 Paces, National Museum of Ireland, Collins Barracks, performance and exhibition in collaboration with Sean Taylor’s 100 Paces. site-specific performance event, Dublin, Ireland, February 24, 2007.

Annual University of Florida Faculty Exhibition, University Gallery, University of Florida, Gainesville, FL. August, 2007.

2006 John Erickson Museum of Art (collaboration with Saya Moriyasu’s audience), Aqua Art Fair, SOIL Gallery, curator Jess Van Nostrand, Miami, FL, Dec., 2006.

John Erickson Museum of Art (collaboration with Bethany Taylor’s “Emissions & Remissions”), Ice Box Gallery, Tacoma, WA, curator Eugene Parnell, October, 2006.

Undercover: An Exhibition of Artists Books, Urban Institute of Contemporary Art, Grand Rapids, MI., Dec. 2005-Feb. 2006.

42nd Annual University of Florida Faculty Exhibition, University Gallery, University of Florida, Gainesville, FL. August, 2006.

2005 Mercer University Faculty Exhibition, Hardman Hall Gallery, In collaboration with Craig Coleman, Mercer University, Macon, GA.

SOIL Turns 10, SOIL Gallery, Seattle, WA. Oct. 2005.

Evicted, Howard House, (in collaboration with Mark T. Miller), Seattle, WA, Oct. 2005.

2004 Sites, Investigations, and Re-enactments, Limerick City Gallery, Limerick, Ireland. Cultural Exchange with Ireland, Curators Matthew Lennon, Sean Miller, and Sean Taylor.

Forth Ward: Alternative Display Exhibition, Saltworks Gallery, Curated by Brian Holcombe, Atlanta, GA.

Synthesis: Experiments In Collaboration, Axel Raben Gallery (The Richard A. and Rissa W. Grossman Gallery, Lafayette College (2003), and, Curators: Merijn van der Heijden and Ron Janowich.

2003 9th Annual Gulf Coast Exhibition, Texas Artists Museum, Port Arthur, Texas.

Will’s Creek Survey 2003, Saville Gallery, Curator: Julie Ann Cavnor, Cumberland MD.

39th Annual Faculty Exhibition, Madonna Building, Curated by Bernice Steinbaum, Miami, FL.

2002 Current Work 2002, The Rosenthal Gallery, Fayetteville State University, Juror: Ralph Steeds, S. Carolina.

38th Annual Faculty Exhibition, University Gallery, University of Florida, Gainesville, FL.

2001 No Nukes, One station Plaza Performance Space and Gallery, Peekskill, NY.

Exhibicion International de Estampillas De Artistas, Vortice Argentina, Buenos Aires, Argentina.

2000 36th Annual Faculty Exhibition, Harn Museum of Art, University of Florida, Gainesville, FL.

1999 Horsehead Outdoor Sculpture Exhibition, Curator Matthew Lennon, Belfast, N. Ireland.

1998 Goods, Arts Edge/Bumbershoot, Seattle, WA.

Well Being and Major Disorders, Ilk Gallery, Denver, CO.

1997 Northwest Annual, Center on Contemporary Art, Curator Alex Melamid, Seattle, WA.

See Thru, Post Gallery, Curator Marilu Knode, Los Angeles, CA.


2010 Art Museum Dust Collection (photo/multiples), Printed Matter, juried into stock into Printed Matter products/materials, published on Printed Matter website, Printed Matter, NY, NY, Oct. 2010.

Art Museum Dust Collection: Wearing Away Museum Grounds—Dust Bunnies, White Lies, and New Measures, Textile: The Journal of Cloth and Culture, co-authored by Kelly Cobb and Sean Miller, Volume 8, Number 3, November 2010, pp. 286-303(18).

“Alle Raccolte Frugone “Museum: all-over” con Sean Miller ed il progetto Jema, Cultura & Spettaculo, Citta di Genova, Genova online city paper, July 7, 2010.

“Museum: all-over”/ Sean Miller e JEMA”, Citta di Genova, Genova Online City Paper, Genova, Italy, July 6, 2010.

“Florida installation makes huge presence at Appleton”, Gainesville Sun, by Dave Schlenker, June
10, 2010.

2009 “How to Start Your Own Country” (2009) filmed art and interview for documentary film by Jodi Shapiro.

La Performance: Polvere da museo nell’arte minima (photo), Il Secolo XIX, Genoa, Italy, Pg. 34 March 12th, 2009.

Chewed, Digested, Shat, Flushed: Bush, USA Today Blog, 01/20/2009 11:51 PM, & The Stranger SLOG (Seattle Weekly Paper/Blog), Seattle, WA., posted by JEN GRAVES (Art Writer/The Stranger) JAN 20, 2009 at 4:51 PM.

2008 Northern Visions Television (NVTV), Televised Interview, In Conversation with Sean Miller and Gregory Green (20 minutes), Northern Ireland, May 22nd, 2008.

ArtStar Reality Television Series, Episode“Six in the City”, Dish Network Reality Television, Gallery
HD, Dish Network (2008).

"Cottage Industry: John Erickson Museum of Art", Modern Art Notes, Art Journal Blog, by Tyler Green, July 21, 2008.

Sales Figures, City Paper, (photo), Baltimore, MD., by Martin L. Johnson, Page 1C, July 2, 2008.

Big Girls..., Baltimore Sun, by Laura Vozella, July 1, 2008.

Artists Taking Care of Business, Baltimore Sun, by Alex Plimack, Saturday, May 31, 2008.

Critic’s Pick, City Paper, Baltimore, MD. by Lee Gardener, May 28th, 2008.

Art In Motion, Indianapolis Star, by Conrad Marshall, Arts and Entertainment, Pg. 11, April 27th, 2008.

Sean Miller: Director of JEMA, Guest Blogger for Indianapolis Museum of Art IMA Blog, Entry written in collaboration with IMA Curator Rebecca Uchill, May 18th, 2008.

JEMA on Yoko Ono’s Website IMAGINE PEACE, May 2008,

Art 'packs' heat in Stetson gallery show, Daytona Beach News-Journal, by Laura Stewart, February 15, 2008.

2007 American Corporate Identity 2008, Art Museum Dust Collection Dust Button Packaging, Design by Connie Hwang, by David E. Carter, published by Harper Design International, Nov., 2007.

The Creative Spirit, Strolls Through SoHo With Its Fringe Flying, The New York Times, Art Review/Art Parade, by Holland Carter, New York, NY, Sept. 10, 2007.

Irish Public Art Practice, Public Art Review, Issue 37, by Annette Moloney, pg. 39, fall/winter, 2007.

Gainesville Sun, Sept. 9, 2007.

2006 Two Things on Ice, The Volcano, (Tacoma Weekly), article w/ photo, by Alec Clayton, Tacoma, WA, Nov. 2,2006.

Art Studios, Art Access, by Alec Clayton, Oct. , 2006.

WARPED Perspective, Florida, News for Alumni and Friends of the University of Florida, by J. Feingold and H. Cristensen. pp. 10-13, Fall 2006.

Slop Art Catalog, Museum Dust Collection text/images, 2006.

Hot Pick, Seattle Times, By Sheila Farr, February 17, 2006.

Obras de John Erickson Museum of Art se exhiben en la gallería de UICA, El Vocero, by Martin Felizardo, 1-20-2006.

2005 Soil Seattle’s Artist-Run Gallery 1995-2005, Particles of Soil, contributing writer, essay, exhibition descriptions, numerous photo-credits, and documentation of curation and artworks, 2005.

2004 The Nation, Image, Portrait “George W. Bush”, (made of voting chads), 2004.

This Weekend Art Belongs to Melrose, Gainesville Sun, by Michelle Benatti, August 6th, 2004.

Seeking the City’s Soul, Gainesville Sun, by Greg Bruno, April 1, 2004.

ATLART Goes Alt-Art, Atlanta Journal-Constitution, by Catherine Fox, January 23, 2004.

2003 Art During Basel, Miami New Times, by Alfredo Triff, Dec. 4, 2003.

38th Annual UF Art faculty Exhibit Shines, Gainesville Sun, by Michelle Benatti, Jan. 24, 2003.

2000 The Stranger Suggests – Miller’s Crossing, The Stranger, by Eric Fredrickson, Jan. 13-19, 2000.

1999 Hearty Shows Step Into the Light, Seattle Post-Intelligencer, July 16, 1999.
Ten Artists Share Ideas, The Seattle Times, by Cynthia Rose, July 2, 1999.

1998 HorseHead Sculpture Project '98, Sculpture Magazine, by Matthew Kangas, Dec. Issue, 1998.

There's a gritty substance in fertile environment... Soil, Seattle Post-Intelligencer, p. 15. What's Happening, by Regina Hackett, May 22, 1998.

Goods, New Art Examiner, by Jill Connor, p. 65, December/January, 1998/99.

Soil's whimsical art show/sale offers mixture of humor, style, Seattle Post-Intelligencer, by Regina Hackett, September 4, 1998.

Horsehead Arts Festival, Seattle Times, Scene, by Robin Updyke, April 30, 1999.

Alternative Art: A New Accounting, Seattle Times, by Cynthia Rose, Dec. 17, 1998.

1997 Pick of the Week, LA Weekly, by Peter Frank, May 1997.


2003-present John Erickson Museum of Art, Founder and Curator, Location Variable Museum project, see

2010 The Appleton Biennial 2010: Florida Installation Art, Juror, The Appleton Museum of Art, Ocala, FL., June 12-Aug. 15, 2010. Catalogue produced.

2008 Packed, University Gallery, Stetson University, Stetson Deland, Florida, February-March, 2008.

2004 Sites, Investigations, and Re-enactments, Limerick City Gallery, Limerick, Ireland.
Exchange Exhibition with Ireland, Co-Curator: Matthew Lennon, Sean Miller, and Sean Taylor.

1999 The Invisible Hand (Craig Coleman and Jesse Paul Miller), SOIL, Seattle, WA.


2008 Flax Art Studios, Belfast, Northern Ireland, April, 2008.


2010 University of South Florida, Tampa, FL., Visiting Artist - Invited, Lecture April 7, 2010.

University of Minnesota Morris, Morris, MN., Visiting Artist (Invited), Lecture March 2, 2010.

City College of San Francisco, San Francisco, CA., Visiting Artist (Invited), Lecture February 24, 2010.
San Jose State University, San Jose CA., Visiting Artist (Invited), Lecture February 22, 2010.

City College of San Francisco, San Francisco, CA., Visiting Artist (Invited), Lecture February 24, 2010.

University of Minnesota Morris, Morris, MN., Visiting Artist (Invited), Lecture March 2, 2010.

2010 Savannah College of Art and Design, FATE, ‘Flexible Foundations: Teaching “Artists” not “Art”’,
Paper Co-Presented with Bethany Taylor , (FATE) Foundations in Art Theory and Education, Southeast Regional Conference, “Re-envisioning Foundations: Identity and Purpose,” May 1, 2010.

2009 Istituto di Storia dell'Arte of the University, Genoa, Italy, Visiting Artist - Invited, co-presentation with LuLu LoLo, lecture/performance to fourth year students and faculty, Genoa, Italy, March 13th, 2009.

Ulster University, Visiting Artist - Invited, Illustrated lecture, WARP/Personal work, Belfast, Northern Ireland, March 6, 2009.

2008 Glasgow School of Art, Visiting Artist - Invited, co-presentation with Bethany Taylor, illustrated lecture, Glasgow Scotland, May 2008.

Golden Tread Gallery, Gallery Talk Personal Work with Flaxart Studios, Illustrated Lecture, Belfast,
Northern Ireland, April 6, 2008.

2007 ACC Galerie, Weimar, Germany, Mobilmachung eines Suchtrupps,?co-presentation, illustrated lecture with Kristin Lucas concerning Public Forum Project, Weimar, Germany, May 17, 2007.

Limerick School of Art and Design, Limerick, Ireland, Visiting Artist, Illustrated Lecture/studio visits, Feb. 22, 2007.

University of Wisconsin, Madison, Visiting Artist, illustrated lecture and studio visits, Feb. 2007.
2006 Western Washington University, Bellingham, WA. , Guest Speaker, Illustrated Lecture, Oct. 2006.

NAEA Conference, Chicago, Barriers and Bridges: Transitioning Students to the College Art Experience, Illustrated Lecture, March 23, 2006.

CAA Conference, FATE Session, The Importance of Nonsense to a Studio Art Curriculum, Boston, 2006.

2004 SECAC Conference, Foundations Panel organized by Scott Betz, Paper and Slides presented, The Benefits of Including Identity-Based Projects in a Foundations Curriculum.

Mercer University, Exhibition Talk with Slides, Macon, GA.

CAA Conference, Shopping It Around: An Off-Road Approach, Panel organized by Reni Gower, Paper and slides presented, The John Erickson Museum of Art: A New Museum Space.

2003 Samuel P. Harn Museum of Art, Museum as Archive Archive as Museum Symposium, Illustrated Lecture, Museum Grounds: White Lies, Airborne Dust Bunnies and Maintaining the Appropriate Distance.

2002 SECAC Conference, Foundations Panel organized by Scott Betz, Paper and Illustrated Lecture, Promoting a Learning Community: The Workshop for Art Research and Practice.


Art Museum Dust Collection: Wearing Away Museum Grounds?—Dust Bunnies, White Lies,
and New Measures


Kelly Cobb is an Instructor of Fashion and Apparel Studies at the University of Delaware. Garment/ Research, her studio moniker, is an umbrella term for cross-genre works, usually involving costume as a point of reference. In project-related works she merges Costume Design with Social Sculpture and Performance Art/Participation Art.

Sean Miller is an internationally exhibiting multimedia artist based in Gainesville, Florida.
He is a cofounder of SOIL (Seattle, WA) and the founder/director of the John Erickson Museum
of Art ( Miller serves as a Senior Lecturer at the University of Florida where
he teaches the Workshop for Art Research and Practice.


This Dialog piece details the current collaborative work underway between Sean Miller’s Art Museum Dust Collection and Kelly Cobb’s textile-based studio project Garment/Research. The Art Museum Dust Collection is an ongoing conceptual project that spans more than 13 years and includes dust from art museums worldwide. The Art Museum Dust Collection consists of a plethora of art-related activities and media, including a photographic series utilizing microscopy, dustcollecting actions in museums, dust-collecting equipment, performances, multiples, wearable art, and a miniature gallery featuring an art-museum dust montage mural.


The Art Museum Dust Collection was initiated by and is maintained by Sean Miller, the Director of the John Erickson Museum of Art (JEMA). Over the years, the collection has
attracted many valued admirers and collaborators. The Art Museum Dust Collection invites an interrelationship with craft, art, design, and contemporary culture via the participation of
collaborators who work in a variety of disciplines and media.

Most recently, artist Kelly Cobb has prepared plans to tailor for Miller a museum director’s suit
woven of dust. In addition, Cobb has exhibited jacquard woven dust fabric in an international
traveling exhibition organized by JEMA. Cobb and Miller will continue to collaborate and examine the parallels between textiles and dust to discover new ways to significantly complement Miller’s
diligent conceptual project.

JEMA Director Sean Miller Considers Clothes and Dust

If considered from the proper perspective(s), dust as it relates to textiles has the capability
of invoking a sense of wonder. In order to fully consider the significance of dust in relation to
textiles and clothing, it is helpful to move beyond familiar everyday associations with these materials and consider their properties, complexities, and the numerous ways they function, impact, and sometimes even intrude upon our lives. A quick survey of any bedroom closet reveals clothes hanging suspended, waiting to be worn and guided through daily activities. We become intimate collaborators with these hanging sculptures. It is not surprising that many individuals own a “lucky shirt” or other clothing item that allegedly provides comfort and even good fortune. If one were asked to define “clothing” to another life form that had no frame of reference, one might find oneself comparing clothes to architecture, sculpture, bedding, bandages, or some kind of tool. However, one’s description would have to be crafted with words that conveyed notions of intimacy. Whatever clothing is, it is always close to us. It is like a friend or lover—always along for the ride during our ups and downs—and the meaningful, mundane, and pivotal moments that combine to form our trajectory through life’s events.

Some of our most prized clothing items, despite the best of care, over time, become frayed, and wear thin. Old garments become clearly more lightweight, colors fade, and stitching threads fray. As if caught in the process of reductive sculpture, our clothes wear down like sanded wood or chipped marble. When we purchase or tailor an item recognizable to all as “blouse,” “scarf,” or “pants,” what is actually acquired is a complex matrix of varied threads saturated with dye. The closer one observes any clothing item, the more clearly one understands the multiple components that make up the garment and how they are systematically arranged. Close inspection reveals cloth fibers as comparable to any carefully stacked pile of objects, such as stacks of fi rewood or bales of hay. The threads are arranged in such a way that they will hold their form. However, despite our best efforts, entropy will take a toll. The more we spin, shake, brush, rub, pat, sit on, and bounce the pile, the more pieces are going to fall away. The lint catcher in the dryer helps us measure our wardrobe as it slowly defects from our governance. As a child, my father
used to tell my brother and me to quit pillow fighting and jumping on furniture because the dust
aggravated his allergies. At the time the complexities of this playful battle were lost on me. However, as my brother and I played and fought—a literal rising storm of tiny airborne particles fi lled our living room. Waves of fibers and particles swept toward my father’s nose and mouth, congesting his breathing and causing discomfort and irritation. Despite its varied and mysterious origins, dust always seems to have a stealthy, disruptive, and subversive quality.

Museum Grounds: Sean Miller Measures Art Museum Dust in Relation to “The White Cube”

An image comes to mind of a white, ideal space that, more than any single picture, may be the archetypal image of 20th-century art. And it clarifi es itself through a process of historical inevitability usually attached to the art it contains. (O’Doherty 1986)

In an art museum, a viewer is disappointed by the presence of dust. Besides being physically
bad for the collection, the elusive substance flies in the face of the unconscious desires and
expectations art audiences hold for the transcendent “white cube” gallery or museum space. Dust
must be removed to preserve the integrity and fallacy of the timeless objective white cube. In addition, typically and almost universally dust, as it relates to art, is a major distraction. The annoying substance infiltrates clean Plexiglas cases, framed artworks, and freshly painted varnish. It descends on sculptures and polished floors, and it attaches itself to photographic negatives, prints, and slides. It even settles on the documentation and record keeping of an art institution.
File cabinets and computer keyboards slowly collect this at times elusive but ever present material.

My fascination with dust as art subject originated thirteen years ago on the third and fourth floors of the Seattle Art Museum (SAM). Not that those fl oors are especially dusty places: rather, they were places where I was forced to confront art museum dust as a tangible, yet unwelcome, substance.

As an Exhibition Technician at SAM, one of my weekly duties included the careful removal of
dust from the art displays. This tedious, solitary, and meditative task began to mold my thoughts in unexpected ways. The aura of the museum gave the task a performance art quality and the
dust itself captured my imagination as a bewildering material. As if by magic, it reappeared each week, on schedule, like an unwanted subscription—an inevitable airmail delivery of the most boring gray junk mail imaginable. When I was hired to carefully regard the material and dutifully remove it in the hallowed halls of the museum, it became an obsession for me.

A pivotal moment with the museum dust occurred when I was cleaning around an African Mask display. I noticed a tiny fiber had fallen from one of the masks—too small to report—barely noticeable, actually. However, that minute fiber had a monumental impact on me. The fiber represented additive and reductive sculpture simultaneously, depending on where one perceives
the prime location of the art. If one supposes the art resides in the mask then the fiber obviously
becomes a reductive element. However, if one reverses one’s thinking and considers the dust as
the hypothetical site for the art, the fiber becomes an additive element.

In the end, I decided that the most progressive point of view was to consider the fiber as both
additive and reductive sculpture, and furthermore, to perceive both the mask and the dust to be artworks in their own right. On this day, I decided art-museum dust has a hidden aesthetic value and conceptual significance. Since that day in 1996, my art has been collecting dust.

Art-museum dust is a hybrid of decaying art, the art institution, the art audience, artists themselves, and art administrators. Due to this synthesis, it may be the most pure and beautiful material present in many museums.

The Art Museum Dust Collection project started in 1996, and today includes over 80 museums worldwide and continues to grow. The original collection was started in collaboration with Seattle Art Museum Coworker Phil Stoiber. We formed a mail art project and began contacting museum employees around the U.S. and requesting dust samples and dusty white gloves for our collection. We displayed the collection, including white gloves with trace amounts of dust on the
fingers and certifi cates with dust samples. Our early dust was hand collected or given on permanent loan from various museum employees.

In 2002, I began using microscopy as a way to photographically document the dust. I was immediately amazed at the aesthetics of the dust—the fibers, colors, textures, and even the creatures that existed in a small pinch of the stuff. The resulting photographic documentation was
inspiring to me, and in many ways I found the imagery had a clear dialogue with Modernist-style
abstraction, especially Modernist abstract painting.

In March 2003, at the Harn Museum of Art in Gainesville, Florida, during the symposium
Museum as Archive: Archive as Museum, the Art Museum Dust Collection expanded further. I revealed new art-museum dust microscopy and I went so far as to claim all currently existing and future art-museum dust worldwide as a personal readymade. Considering that universally museums are actively trying to rid themselves of this substance and have no use for it—I decided JEMA should accept responsibility for recognizing, designating, collecting, and claiming art museum dust as a part of JEMA’s growing permanent art collection. It is my hope that viewers will begin to recognize the presence of this rich material in art museums as an intentionally exhibited, on loan, artwork—not tiny bits of clutter.

Since its origins the Art Museum Dust Collection project has been maintained by a variety of artists, designers, and well-wishers. In 2004 San Francisco-based designer Connie Hwang began collaborating on the dust collection by assisting with design, archiving, and overall
organization and branding of the collection.

LuLu LoLo has joined the Art Museum Dust Collection collaborators as an Art Museum Dust Collection Specialist. LuLu LoLo is a New York based playwright, performance artist, and visual artist. She has worked to collect art-museum dust internationally and turn the process of dust collecting into a performance event.

In March 2009, LuLu LoLo and Sean Miller collected dust at a series of art museums in Genoa, Italy as part of a series of interventions curated by Caterina Gualco of UnimediaModern Contemporary Art (Genoa, Italy). In addition to designing the textiles and garments for Art Museum Dust Collection, Kelly Cobb has been active as a Dust Collection specialist and researcher, most recently
harvesting dust with curator Irene Hofmann at the Contemporary Museum in Baltimore, Maryland.

Art-museum dust probably interests audiences for different reasons. For me, there is a
personal enjoyment in the absurdity of maintaining the collection. However, the dust additionally serves as a type of evidence against the museum. It is an indication and reminder of
the power of nature, time, and entropy over the timelessness, the publicity, and the imposing nature of many monumental museums. It also demonstrates the limitations as well as the dynamic possibilities of the human energy and ongoing activities that sustain and define the institution. The dust indicates the lived experience and social aspect of viewing, maintaining, exhibiting, and appreciating art. It seems vital, in considering the contemporary art museum, that the collective nature and collective action in the museum should be weighted heavily, especially in order to sublimate the flipside perceptions of art museums as timeless, hermetically-sealed, security-filled, geographically fixed, upper-class, esoteric, vaulted spaces. These latter associations will not serve art museums well in the twenty-first century.

This remains a pertinent issue for contemporary art museums because, despite a never-ending slew of attempts to unconventionalize the methods of art display by museums, galleries, alternative spaces, and individual artists, Brian O’Doherty’s “white cube” remains a foreboding
presence in the public’s collective consciousness in regards to art experience and practice. If one
considers one’s most stirring first-hand visual-art experiences, there remains a strong possibility that several of the artworks involved were somehow collaborating conspiratorially with the white cube of the gallery or other conventions associated with modernist art display tactics. Many artworks remain framed and supported by stealthy bits of museum putty, track lighting, spackle, glossy wood floors, and various mathematical formulas (for proper placement in the gallery). These elements conspire together toward the seamless visual presentation of the art object to an art audience.

Sean Miller Imagines Various Art Museum Dust Scenarios

A museum promotes security to ensure a timeless, safe, and static environment for its permanent collection and special exhibitions. But it is also responsible for producing many other things. Alfred H. Barr, The Museum of Modern Art’s fi rst Director, touched on notions of museum production in a confidential report to the trustees. He stated:

Basically, the Museum ‘produces’ art knowledge, criticism, scholarship, understanding, taste ... once a product is made, the next job is distribution. An exhibition in the galleries is distribution.
Circulations of exhibition catalogs, memberships, publicity, radio, are all distribution.

(Barr 1933: 2)

It is not impossible that, unbeknownst to Barr, as he wrote this report, his arm rubbed briefl y on his desk. This rubbing action detached several micron-sized dead skin particles and they went airborne (a micron is one twenty-five-thousandth of an inch). It is also not impossible that, due to a slight draft in his office, one skin particle floated upward and settled on top of a bookshelf. As it landed it commingled with a dust-sized portion of a Picasso assemblage, a microscopic bit of the Sahara Desert, and a piece of one of Frida Kahlo’s eyelashes. Something was being produced
in MOMA that Barr’s report had omitted. A different collection was under way not only at MoMA
but in art museums around the world. For generations of museum employees, this ongoing growing collection is a constantly and carefully regarded preoccupation. A tireless struggle continues as
staff attempt to de-accession this unwanted collection and its components.

Kelly Cobb Considers Frida’s Eyelash

“Can you have one dust? Is it not perceptible until it’s gathered together with other dusts?”

Dust gathers quite differently in relation to how patterns are bound in fabric, or even how fibers combine into weave. I never considered until first viewing Miller’s microscopy that dust is essentially a textile; a spontaneous, tumbled non-woven; a collection of cast-offs, crumbs, spores, flakes of skin, ancient grains. As fluid as any material textile can be, dust is constantly shifting, shedding, or growing. The collective nature of dust is compelling. Rogue particles die alone; it is the disparate hair and flake in combination that become visible and particularly sublime
as photographed microscopy. Combinations further interpreted in varied twills and shaded satins
are simultaneously intimate and epic.

The project teases out many variants of “the collection,” as dust itself is a collection of smaller dusts—spontaneous bits and parts of people, places, and time. The curatorial suit and garment accessories form a sartorial collection. The gathering of museum dusts from collections around the world is exhibited as an art collection in its own right. The collective of many various types of
art, artists, and ideas form a new hybrid collection.

Kelly Cobb Figures Stuff: Something from Nothing

The literature of historic textiles is replete with amazing examples of supplemental warp, damask,
and Jacquard figured textiles.

Theories regarding symbolism of cloth abound. There is a palpable significance and power to an embedded symbol. Why do makers embed imagery into cloth? Why do we wear figured textiles? These questions are worthy of further investigation.

Turkish weavers weave secret “little gifts” or Boncugu into their carpets as a wish, or for good luck. The details that exist in the embedded dust cloth recall these gifts. The notion of embedding the trace into cloth by way of pattern and structure is a central theme in Art Museum Dust Collection. The discovery of wondrous forms and compelling compositions and structures is also integral to the photographic documentation of the dust.

Burmese acheik figured textiles (Maxwell 1990) are inspired by natural phenomena such as cloud and water patterns. Similar to a cloud, the world of dust unfolds from seemingly nothing, from an aside or periphery. Dust teeters between something that is and something that once was.

Textiles embedded with power objects elevate the position or status of the wearer. Depictions of
“animals of might” impart strength, mythical beasts ward off evil spirits. Petals, creepers, and fl ower heads promote fertility. Symbolic rhombs, motifs of legend, celestial nymphs, and romantic encounters are also embedded into cloth to articulate emotions and ways of being we would like to possess, but can’t necessarily touch.

Textile Iconography morphs and shifts as regions mingle and as cultures are exposed to other
symbolic registries. The power of the symbol, be it vapor, cloud, or dust, lies in the urge to touch the intangible, to make nothing something.

The physical forms assumed by clothing, like all of our artifacts, merge into and participate in a collective ordering and interpretation of the worlds ‘stuff’. “Being formal” then becomes an activity that has a precise sartorial correlative, namely absorption by and into, a form.

Kelly Cobb on Being Formal

I learned to weave in 1990 through a process called woven imagery in a beginners’ weaving class taught by Sandra Brownlee. We would warp our looms in black or white, and simply let a tactile story unfold. It was quite a sublime experience, which I had forgotten until I wove off my first dust sample at the Oriole Mill in North Carolina.

The signature fabric in the Dust Collection is patterned with configurations and varied scale of dust microscopy. Dust is woven via the Jacquard process into dust cloth. There is a life and complexity to this fabric. Each patterned microscopy exists as a world in itself, each bit and
flake and fiber has its own designated weave and in combination a tactile conversation. Gathered on a larger pliable plane, it seems a whole universe is unfolding.

In the summer of 2008, I visited The Jacquard Center 7 in North Carolina to explore the potential of utilizing Jacquard designed fabric for The Dust Collection. My time at The Jacquard Center was highly productive and the Jacquard process seems an ideal medium to elucidate dust.
I worked closely with director Bethanne Knudson to develop repeat patterns that would complement textiles for the use of menswear, specifically a man’s three-piece suit. JEMA has
since extended the dust collection to include uniforms and garment accessories for curatorial assistants and dust researchers, as well as a floor treatment for the JEMA dust gallery.

Kelly Cobb on New Measures: Tailoring a Pliable Context

And you may carve a shrine about my dust.
(Tennyson 2008)

Often, garments cut from figured cloth were worn as ritual garments or to mark status or special rank. Special clothing can articulate the wearer’s position. My primary interest was in developing the design for a suit constructed out of custom dust figured cloth, the quintessential power garment.

The suit elucidates Miller’s status as director and curator, and underscores Miller’s ongoing
commitment to unsettling viewers’ preconceptions concerning the nature of the contemporary art museum. He will become stylishly adorned with the dust, and through his activities he will stir the dust, while simultaneously wearing it like a badge of honor (in the same way that a uniform symbolically legitimizes and reminds us of the importance of a judge or an officer of the law).

I like the notion of outfitting a process. The Art Museum Dust Collection project includes performances, such as dust harvesting, official proclamations, lecturing, and conversing with museum professionals, as well as many signifi cant curatorial actions. Performative gestures are often hard to frame. In my experience, I have found that the garment provides an ideal frame and pliable context.

Sean Miller Discusses Connie Hwang and Kelly Cobb Exhibition at the John Erickson Museum of Art

As Kelly Cobb and I continue to collaborate on the Art Museum Dust Collection fabric I have also been proud to include it in exhibitions at JEMA. In 2008, Kelly Cobb and Connie Hwang began working independently with the microscopy images to create an exhibition for JEMA titled the Art Museum Dust Collection exhibition. Connie Hwang created an Art Museum Dust Montage, a wallpaper montage to cover JEMA’s gallery walls. Kelly Cobb has transformed her fi rst artmuseum dust imagery into a digitally woven fabric to create her Art Museum Dust Collection Weaving. This material is exhibited in the JEMA galleries as a floor treatment.

JEMA opened Connie Hwang and Kelly Cobb’s exhibition Art Museum Dust Collection in Genoa, Italy on March 12, 2009. In Genoa, Cobb and Hwang’s exhibition was included as part of a series of museum interventions organized by Genoa-based curator Caterina Gualco of UnimediaModern Contemporary Art. Cobb and Hwang’s Art Museum Dust Collection traveled to the following Genoa art institutions: Villa Croce Museo d’Arte Contemporanea, Museo di Strada Nuova, Galleria d’Arte Moderna of Genoa, Nazionale di Palazzo Spinola, l’Aula Magna dell’Universitàdi Genova, and UnimediaModern Contemporary Art.

Despite their working separately, the results of Cobb’s and Hwang’s efforts designing and producing work with the dust imagery yielded strong and cohesive results. Connie Hwang responded to working with dust as a subject by stating: “Designing with dust interests me, because the dust particles relate to history, language, and/or text. Designing with the dust touches the power of storytelling—from trailing the dust to making space for it—or sometimes I think it may be something else entirely?”


Contemporary art audiences generally understand the artifice of museum display; they know where to look for art in a museum, and they know what to ignore. Contemporary museum-goers wisely hedge any perceptual or intellectual overload by telling themselves an ongoing stream of “white lies” in order to observe the socially inscribed cues from the museum which dictate what is institutionally endorsed as “art object.” In an art museum, art could be anywhere or claimed to be anywhere, but most contemporary viewers dutifully follow these culturally inscribed visual cues. This creates an aesthetic climate whereby many contemporary art audiences still wander through exhibition spaces like Arctic explorers lost in a white-out blizzard, looking for any recognizable forms that may lead them to safety or bring them in from the cold.

Could it be that the contemporary art museum is wasting space? Even worse, not perceiving space in a contemporary context—or fully progressive or creative manner? Artists, directors, and curators should have the vision to redesign the contemporary art museum. The twenty-first-century art museum should go far beyond furniture showrooms, poster shops, magazine stands, window displays, office buildings, design centers, and airports.

The digital age has afforded us new increments by which to measure the material world and
new mechanisms for viewing and perceiving it. In a digital, social-networked society, which
benefits from continual scientific updates, technological breakthroughs, and new theories regarding the nature of time and space, it seems that massive changes may lie in store for our culture, and therefore also for the contemporary art museum. With so many artists worldwide struggling to
“find a space” to exhibit their work, hopefully projects like JEMA and the Art Museum Dust Collection offer some inspiration and two possible small alternative models.

As museums and galleries are struggling to expand in size and offer space for new exhibitions, art-museum dust may remind some viewers of the near-infinite amount of space already available. It will be interesting to measure the progress of artists, museums, curators, and audiences as they continue to redefine and explore the ways art may occupy space in our contemporary social context. Much more is possible in the ways spaces for art are creatively utilized.

A desire to exhibit (and soon wear) art-museum dust is one small way to simultaneously contribute critical possibilities, aesthetic insights, style, and humor into the dialog surrounding the contemporary art museum.

Notions such as these motivate the maintenance and expansion of the Art Museum Dust Collection. This substance—art-museum dust—is a literally like a ghost that silently follows us ... hovering ... invading our air space. It is a reminder to us that our museums’ “permanent collections” are never permanent. Dust fl oats through outer space and fibers of it float through the
air in our atmosphere, eventually settling in our homes and on our possessions. Our clothes and our bodies contribute to it. By looking closely at dust we can envision a whole world of possibilities
within a tiny circle.


1. Garment/Research:

2. John Erikson Museum of Art:

3. From a conversation with
the artist and artist/curator
Judith Leeman.

4. Boncugu was introduced to me by workers at a Turkish rug importer’s shop, where I worked as a design assistant in 1996. They used boncugu (bonjuk) to refer to intentional surprises or symbolic gifts which Turkish weavers embedded into carpets. Upon further reading, I found that Nazarlik is officially the word and means “charm used against the evil eye.” It can also be referred to as kem nazar, nazar Boncugu, goz
(Landreau, 1983).

5. Georg Simmel. Clothes and Fashion, quoted in Carter
(2003: 64).




Barr, A. H. 1933. “Present Status and Future Direction of the Museum of Modern Art,” p. 2. MoMA Archives: AHB Papers (AAA: 3266; 122).

Carter, M. 2003. Fashion Classics from Carlyle to Barthes. Oxford and New York: Berg.

Landreau, A. N. 1983. Flowers of the Yayla: Yörük weaving of the Toros Mountains. Washington, DC: Textile Museum.

Maxwell, R. J. 1990. Textiles of Southeast Asia: Tradition, Trade, and Transformation. New York: Oxford University Press.

O’Doherty, B. 1986. Inside the White Cube: the Ideology of the Gallery Space. Santa Monica, CA: Lapis Press.

Tennyson, A. “St. Simeon Stylites.” In the readprint digital library,
(accessed July 15, 2008).


May 1 - August 30, 2012

Tom Marioni, Beer, Art and Philosophy: A Memoir,
2011, Pencil on printed book on paper, 6,49 x 8,4 x 0,59 in.

Tom Marioni is a sculptor who has created a large body of work in drawing and printmaking.
He has lived in San Francisco since 1959.


1969:  ”One Second Sculpture”
1970:   “The Act of Drinking Beer with Friends is the “Highest form of Art”
1970:   Founded the Museum of Conceptual Art (MOCA). Closed in 1984
1975:   Editor/Designer Vision Magazine
2000:   Founded The Society of Independent Artists


In 1969, as an art action, Tom Marioni released a tightly coiled metal tape measure into the air. The instrument started out as a circle, then opened up and created a loud sound as it made a drawing in space, and finally fell to the ground as a line. The work was titled One Second Sculpture, and it demonstrated several principles of Conceptual Art. This type of art was new at the time but has now become a major influence on artists and on our society. A principle demonstrated by “One Second Sculpture” is that duration can be an element in art. Another is that the lasting form of an artwork is created and later re-created in the viewer’s mind. And a third principle is that elements other than the visual (in this case, sound) may be part of the form of an artwork.

Conceptual Art extended and expanded traditional art approaches in unprecedented ways. For example, instead of looking for form in things, or objects, in the world, Conceptual artists began to pay attention to forms that occur in life situations. Marioni pioneered using social situations as art, and his 1970 piece called The Act of Drinking Beer with Friends is the Highest Form of Art has become legendary. Also in 1970, Marioni founded the Museum of Conceptual Art (MOCA) as “a large-scale social work of art.” Until it closed in 1984, he directed MOCA and at the same time continued to pursue his individual work as an artist. MOCA was the first “alternative art space” in the United States, and its presence in San Francisco is evidence that in our time, with our fast world-wide communications, it is not necessary to live in the country’s primary art center to do influential work. MOCA presented many landmark shows, (including the first Sound Sculpture show in 1970), and also provided a social situation for artists.

Tom Marioni is a sculptor who has created a large body of work in drawing and printmaking. Tree, Drawing a Line as Far as I Can Reach, 1972, set up a theme that he has developed for twenty-eight years. A work from the same time, Bird, Running and Jumping with a Pencil, Marking the Paper while Trying to Fly (1972) is the forerunner of his new color print Flying with Friends (Drypoint). In fact, most of Marioni’s prints have been results of repetitive activity, his own or others’. Even his pictorial prints are dependent on his activity—a Zen-like concentration on mark-making.? ?Marioni is interested in Asian art and thought, and the elegant spareness of his art in general has something to do with Zen philosophy. The work has a simple beauty that, like Zen, offers at the same time something to think about.

- Kathan Brown: Crown Point Press


Individual Exhibitions

1963 Bradley Memorial Museum of Art, Columbus, GA [Sculpture & Drawings]
1968 Richmond Art Center, Richmond, CA [Sculpture]
1970 The Oakland Museum, Oakland, CA
“The Act of Drinking Beer with Friends is the Highest Form of Art” [Installation]
1972 Richard Demarco Gallery, Edinburgh, Scotland [Drawings, Sculpture]
DeSaisset Museum, University of Santa Clara, CA, “My First Car” [Installation]
Reese Palley Gallery, San Francisco, CA, “A Seven Day Performance” [Installation]
1975 Galeria Foksal, Warsaw, Poland, “Thinking Out Loud” [Installation]
1977 M H deYoung Museum of Art, San Francisco, CA, “The Sound of Flight” [Installation]
Gallery Paule Anglim, San Francisco, CA [Drawings & Sculpture]
1978 Los Angeles Institute of Contemporary Art, Los Angeles, CA [Drawings]
1979 “The Museum of Conceptual Art at the San Francisco Museum of
Modern Art,” San Francisco, CA [Installation with Free Beer]
Grita Insam Gallery, Vienna, Austria, “The Power of Suggestion” [Installation]
Cochise Fine Arts Center, Bisbee, AZ, “A Penny from Heaven” [Installation]
1980 Felix Handschin Gallery, Basel, Switzerland [Drawings]
Matrix, University of California, Berkeley Art Museum [Drawings]
1981 Site, Inc., San Francisco, CA, “Paris, San Francisco, Kyoto” [Installation]
1984 Gallery Paule Anglim, San Francisco, CA [Drawings]
Le Consortium, Dijon, France, “Cutting the Mustard” [Installation]
1985 Eaton/Shoen Gallery, San Francisco, CA [Sculpture]
1986 New Langton Arts, San Francisco, CA, “The Back Wall of MOCA” [Installation]
Kuhlenschmidt/Simon, Los Angeles, CA [Sculpture]
1987 Museo ItaloAmericano, San Francisco, CA, “The Germans,The Italians,The Japanese” [Sculpture]
Margarete Roeder Gallery, New York, NY [Sculpture]
Yoh Art Gallery, Osaka, Japan [Drawings & Sculpture]
Margarete Roeder Gallery, New York, NY, “Astronomy Piece” [Installation]
Marin County Civic Center, San Rafael, CA. “Observatory Bird” [Public sculpture commission]
1989 Fuller Gross, San Francisco, CA, “Golden Rectangles” [Wall Sculptures]
1990 Fuller Gross, San Francisco, CA [Sculpture & Photograms]
Capp Street Project A.V.T., San Francisco, CA
“The Artist Studio (Starting Over)” [Installation]
1993 Gallery Paule Anglim, San Francisco, CA, “Seascapes” [Sculpture, Drawings]
Crown Point Press, San Francisco, CA, “Landscapes” [Prints] and “By the Sea” [Installation]
Robert Koch Gallery, San Francisco, CA [Color Photograms]
University of Nevada, Reno, NV, “Around the World” [Installation]
1994 Margarete Roeder Gallery, New York, NY, “Shadowgrams” [Photograms with their objects]
1995 Refusalon, San Francisco, CA [Conceptual Works 1969-73]
1996 Gallery Paule Anglim, San Francisco, CA, “Elegant Solutions” [Sculpture]
1998 Gallery Paule Anglim, San Francisco, CA [Sculpture, Drawings]
Margarete Roeder Gallery, New York, NY [Drawings]
1999 Y-1 Gallery, Stockholm, Sweden . ”beer with friends etc” 1970. [Installation]
Mills College Art Museum, Oakland, CA, “Trees and Birds” 1969-1999 [Drawings, Prints]
Cincinnati Art Academy, Cincinnati, OH [Drawings, Sculpture]
2000 Margarete Roeder Gallery, New York, NY, [Sculpture and Drawings]
Gallery Paule Anglim, San Francisco, CA, [Sculpture and Drawings]
2001, on line project, San Francisco, CA [Psychic Sculpture]
2003 Margarete Roeder Gallery, New York, NY, [Sculpture and Drawings] YBC Center for the Arts,
2004 Yerba Buena Center for Arts, “Golden Rectangle” San Francisco, [Sculpture Installation]
2006 Contemporary Arts Center, Survey Show, Installations, Drawings. Cincinnati, Ohio
Tom Marioni 1

Selected Group Exhibitions

1970 Museum of Conceptual Art (MOCA), San Francisco, CA*, “Sound Sculpture As”
1971 DeSaisset Museum, University of Santa Clara, CA, “Fish, Fox, Kos”
1972 Mills College Art Gallery, Oakland, CA*, “Notes and Scores for Sounds”
Newport Harbor Art Museum, Newport Beach, CA*, “The San Francisco Performance”
1973 Museum of Conceptual Art, San Francisco, CA*, “All Night Sculptures”
1975 Biuro Wystaw Artyslycznych, Poland, “Kontra punkt”
1979 Salzburger Kunstverein, Austria, “Art as Photography”
San Francisco Museum of Modern Art, San Francisco, CA, “Space/Time/Sound”
1980 Academy der Kunst, Berlin, Germany, “For Eyes and Ears”
ACR Museum of Modern Art, Paris, France, “For Eyes and Ears”
Stedelijk Museum, Amsterdam, Netherlands, “Music/Sound/Language/Theater”
1982 Biennial II, San Francisco Museum of Modern Art, San Francisco, CA, “Twenty Americans”
Oakland Museum, CA, “100 Years of California Sculpture”
Rimini, Italy. Sound Art, “Sonorita Prospettiche”
Los Angeles Institute of Contemporary Art, Los Angeles, CA, “Sound”
Belca House, Kyoto, Japan*, “Elegant Miniatures from San Francisco”
[Also at San Francisco Museum of Modern Art, San Francisco, CA]
1983 San Francisco Art Institute, CA*, “Art Against War”
Franklin Furnace, New York, NY, “In Other Words”
1984 The Sculpture Center, New York, NY, “The Sound Art Show”
San Antonio Museum of Art, San Antonio, TX; Lock Haven Art Center, Orlando, FL;
Cranbrook Art Museum, Bloomfield Hills, MI, “Awards in Visual Arts”
1985 Kunsthalle, Bern, Switzerland, “Alles und Noch Viel Mehr”
Stuttgart Staatsgalerie, West Germany, “From Sound to Image”
Oakland Museum, CA, “Art in the San Francisco Bay Area: 1945-1980”
Otis Art Institute of the Parsons School of Design, Los Angeles, CA
“The Marriage of Art and Music for L.A.” [Installation for “New Music America Festival”]
1986 Gallery Route One, Pt. Reyes Station, CA, “Under One Roof”
1987 Walter Phillips Gallery, Banff Center, Alberta, Canada, “Object Lesson”
1988 Gallery Paule Anglim, San Francisco, CA, “Solid Concept”
1989 UCLA, San Jose, CA, Fresno, CA, Omaha, NB museums, “Forty Years of California Assemblage”
Hallwalls, Buffalo, NY, “Bay Area Conceptualism: 2 Generations”
1990 University of Massachusetts, Amherst, MA, “In Site”
Sandra Gering Gallery, New York, NY. “Drawings”. Organized by John Cage
1993 Museum of Contemporary Art, Los Angeles, CA, Guggenheim Soho NY, Houston, TX, Philadelphia,
PA, and Tokyo, Japan museums, “Rolywholyover A Circus” [Traveling show organized by
John Cage.]
1994 Artists Space, New York, NY, “Conceptual Art from the Bay Area”
[Tom Marioni and David Ireland, Installations]
Crown Point Press, San Francisco, CA [New Photogravures]
1995 Index Gallery, Osaka, Japan. Benefit for the Kobe earthquake victims.
Exit Art/The First World, New York, NY, “Endurance”
Museum of Contemporary Art, Los Angeles, CA, “1965-1975 Reconsidering the Object of Art”
1996 Musees de Marseilles, France, “The Art Embodied”
1997 Track 16 Gallery, Santa Monica, CA, “Chain Reaction”
1998 Museum of Contemporary Art at The Geffen Contemporary, Los Angeles, CA
“Out of Actions: Between Performance and the Object 1949-1979;” traveling to:
Austrian Museum of Applied Arts, Vienna; Museu d’art Contemporani, Barcelona, Spain;
Museum of Contemporary Art, Tokyo, Japan; Centre George Pompidou, Paris;
Dijon/Consortium, Dijon, France
1999 Refusalon, San Francisco,CA, “SOUND”
M.H. de Young Museum, San Francisco, CA, “Museum Pieces”
Landesmusem, Linz, Austria, “Die Kunst Der Linie”
2000 Generali Foundation, Vienna, Austria, “Replay: The Beginning of Media Art in Austria”
Chester Springs Studio, Chester Springs, PA, “Reenactment/Rapprochement”
Los Angeles County Museum of Art, Los Angeles CA, “Made in California”
Krannert Art Museum, Champaign, Ill. “Drawings of Choice” Traveling exhibition
Pasadins Art Museum, Bay Area Conceptual Art of the 70’s, Pasadena, Ca.
California College of Arts, San Francisco Ca. “Extra Art” 1960-1999 Traveling exhibition
Independent Curators International, New York, “Walk Ways” Traveling exhibition
Baltimore Museum of Art, “Work Ethic”, Traveling exhibition, Wexner Center, Columbus. Oh.
Wesleyan University, Middleton CT. Works from LeWitt collection. “Unexpected Dimensions”
2004 Legion of Honor Museum, “Photo Image in American Prints”, San Francisco
2005 Lyon Biennale d’art contemporain, Lyon, France
The Drawing Room, London, England. “Sounds Like Drawing”
Rhode Island School of Design, Drawings.

Performance | Actions

1966 Worked in night club, sketching nude model, San Francisco, CA
1969 “One Second Sculpture,” San Francisco, CA
“Abstract Expressionistic Performance Sculpture,” San Francisco, CA
1970 “Sound Sculpture As,” Museum of Conceptual Art (MOCA), San Francisco, CA
1971 “Chain Reaction,” DeSaisset Museum, University of Santa Clara, CA
“Identity Transfer,” Berkeley Gallery, San Francisco, CA
1972 “Sunday; Scottish Landscape,” Richard Demarco Gallery, Edinburgh, Scotland
“Sound Actions,” Whitechapel Gallery, London, England
“The Creation: A Seven Day Performance,” Reese Palley Gallery, San Francisco, CA
1973 “A Talk,” Project, Inc., Boston, MA
Concert, MOCA Ensemble, St. Mary’s Cathedral, Edinburgh Festival, Scotland
Concert, Institute of Contemporary Art, London, England
Concert, San Francisco Museum of Modern Art, San Francisco, CA
Demonstration, University of California, Berkeley Art Museum
Radio performance, KPFA, Berkeley, CA
1974 “The Sun's Reception,” Residence of David and Mary Robinson, Sausalito, CA
“A Sculpture in 2/3 Time,” Student Cultural Center, Belgrade, Yugoslavia
“One Minute Demonstration,” Gallery of Contemporary Art, Zagreb, Yugoslavia
1975 “Duologue (with Terry Fox),” CARP, Los Angeles, CA
“Morning Action,” Salon of the Museum of Modern Art, Belgrade, Yugoslavia
“East/West,” (with Petr Stembera), Prague, Czechoslovakia
“Thinking Out Loud,” Galeria Foksal, Warsaw, Poland
“Lecture/Reception/Action,” Indianapolis Museum of Art, Indianapolis, IN
1976 “Bird in Space: A Psychic Sculpture,” and/or Gallery, Seattle, WA
1977 “Yellow is the Color of the Intellect,” Portland Center for the Visual Arts, Portland, OR
“The Sound of Flight,” M H deYoung Museum of Art, San Francisco, CA
1978 “Now We'll Have a Party,” International Performance Festival, Vienna, Austria
“Predictions,” Alternative Art Space Conference, Los Angeles, CA
1979 “Freibier (free beer),” Vienna Performance Biennial, Vienna, Austria
“A Social Action,” Dany Keller Galerie, Munich, Germany
“Action,” Krinzinger Gallery, Innsbruck, Austria
“Liberating Light and Sound,” Pellegrino Gallery, Bologna, Italy
“Talking Drumming,” LACE, Los Angeles, CA
“A Theatrical Action to Define Non-theatrical Principles,” Santa Barbara Museum of Art,
Santa Barbara, CA
1980 “Studio Bern,” Kunst Museum, Bern, Switzerland
“Studio Basel,” Kunsthalle, Basel, Switzerland
“Bending Light,” Berner Gallery, Bern, Switzerland
“Atelier,” Centre George Pompidou, Paris, France
“Studio Berkeley,” University of California, Berkeley Art Museum
“Spirit in the Dark,” Crown Point Press, Oakland, CA
“Studio Berlin,” Akademie der Kunst, Berlin, West Germany
“Word of Mouth,” conference, Crown Point Press, Ponape Island, Pacific Ocean
1981 “Studio,” Tea house of the Saito Family, Kamakura, Japan
“Studio Chicago,” Museum of Contemporary Art, Chicago, IL
International Performance Festival, ELAC, Lyon, France
Performance Festival, Kunstlerhaus Bethanien, Berlin, Germany
1982 University of California, San Diego, CA
Folkwang Museum, Essen, Germany
Kölnischer Kunstverein, Cologne, Germany
University of Wisconsin, Green Bay, WI
“Social Action,” Intersection Theater, Performance Festival, San Francisco, CA
“Studio Kyoto,” Ohara Shrine, Kyoto, Japan (sponsored by Belca House)
1986 “Double Portrait,” (with Shoichi Ida), The American Center, Kyoto, Japan
1996 “Studio,” WDR Radio, Acoustic Festival, Cologne, Germany
1997 The Art Orchestra, California Palace of the Legion of Honor, San Francisco, CA
1998 “Studio Berkeley 1980,” University of California, Berkeley Art Museum
“A Social Action, 1978,” Austrian Musuem of Applied Arts, Vienna, Austria
2000 “Studio”, Chester Springs Center for Visual Art, PA.
“Beer Drinking Sonata” Acustica International, Goethe Institute, San Francisco, CA
2004 “Buddhist Band” Yerba Buena Center for the Arts, San Francisco
2005 “Beer with Friends etc.” Lyon, France, Biennale

Related Professional Activities

1966 Worked in night club, sketching nude model, San Francisco, CA
1969 “One Second Sculpture,” San Francisco, CA
“Abstract Expressionistic Performance Sculpture,” San Francisco, CA
1970 “Sound Sculpture As,” Museum of Conceptual Art (MOCA), San Francisco, CA
1968-1971 Curator of Art, Richmond Art Center, Richmond, CA
1970-1984 Founding Director, Museum of Conceptual Art (MOCA), San Francisco, CA
1973 Founding Director, MOCA Ensemble, San Francisco, CA
1975-1982 Editor/Designer, Vision, art journal published by Crown Point Press, Oakland, CA
1981 Artist-in-Residence, Djerassi Foundation, Woodside, CA
1985 Commencement Speaker, Cincinnati Art Academy, Cincinnati, OH
1990 Artist-in-Residence, Pilchuck Glass School, Stanwood, WA
Artist-in-Residence, The Fabric Workshop, Philadelphia, PA
1992 Consultant for public art, Central Embarcadero Project, City of San Francisco, CA
1996 Founder, The Art Orchestra, San Francisco, CA
2000 Founder, Society of Independent Artists, San Francisco
2005 Produced “A Motion Picture”, video movie with 18 San Francisco Artists

Awards, Grants and Fellowships

1976 National Endowment for the Arts: Sculpture
1980 National Endowment for the Arts: Sculpture
1981 John Simon Guggenheim Memorial: Conceptual Art
1984 National Endowment for the Arts: Sculpture
Awards in the Visual Arts: Sculpture
1986 Asian Cultural Council: Travel Grant/Japan
1998 Flintridge Foundation: Sculpture
Fleishhacker Foundation: Sculpture Books & Publications
“Invisible Painting and Sculpture”, Richmond Art Center, Catalog 1969
“The Return of Abstract Expressionism”, Richmond Art Center, Catalog 1969
“Sculpture Annual”, Richmond Art Center”, Catalog 1970
“Vision”, Crown Point Press, #1 California, 1976, #2 Eastern Europe, 1976,
#3 New York City, 1976, #4 Word of Mouth, 1980, #5 Artists Photographs, 1981
“The Sound of Flight Tom Marioni”, Thomas Garver, catalog M H De Young Museum, exhibition, 1977 “Tom Marioni, The Italians, The Germans, The Japanese” catalog Museo Italo Americano, 1987 “Tom Marioni Sculpture and Installations 1969-1997”, self published
“See What I’m Saying”, 1978, self published
“Writings on Art Tom Marioni 1969-1999”, Crown Point Press, 2000
“Beer, Art and Philosophy” A Memoir, Tom Marioni, Crown Point Press, San Francisco, 2004
Sound Compositions
1969 “One Second Sculpture”
1970 “Piss Piece” for Sound Sculpture As, Museum of Conceptual Art, San Francisco, CA.
1972 “Sunday Scottish Landscape” (Violin Bird) DeMarco Gallery, Edinburgh, Scotland.
“Sound Actions” Whitchaple Gallery, London, England.
1973 “MOCA Ensemble” ICA, London, England.
1974 “A Sculpture in 2/3 Time” Student Culture Center, Belgrade, Yugoslavia.
1975 “Thinking Out Loud” Galeria Foksal, Warsaw, Poland.
1977 “The Sound of Flight” M H De Young, San Francisco, CA.
1979 “Liberating Light and Sound” Pellegrino Gallery, Bologna, Italy.

Sound Compositions Continued

1980 “Studio” Kunst Museum, Bern, Switzerland.
1985 “From China to Czechoslovakia” (A world map in beer bottles), San Francisco, CA.
1991 “The Yellow Sound for Kandinsky” West Deutscher Rundfunk (radio), Cologne, Germany
1996 “Beer Drinking Sonata” The Art Orchestra, Palace of the Legion of Honor, San Francisco, CA
2004 “Breathing” Buddhist Band, Yerba Buena Center for the Arts, San Francisco, SF.


Cover story. Pacific Sun, July 7-13, San Rafael, CA, 1971
“Man of Sound Vision,” Cordilea Oliver, The Guardian, Glasgow, Scotland, June 5, 1972
Interview. Prudence Juris, Studio International, June 1972
Moment #3 & #4, Student Culture Center, Belgrade, Yugoslavia, 1973
“Was it Art?” Thomas Albright, San Francisco Chronicle, San Francisco, CA, July 6, 1973
Interview. “Activity as Sculpture,” Hilla Futterman, Art and Artists, London, England, August 1973
“4 Museums,” Peter Plagens, Artforum, pp. 82-84, October 1973
“The Arts in America,” Newsweek, December 24, 1973
Review. Alan Moore, Artforum, p. 78, June 1974
“Kalifornia ‘Actionismus’,” der Lowe #1, Bern, Switzerland, 1974
“Music for the Avant Garde,” Source, #11, 1974
Il Corpo Come Lingvaggio (La Body Art), Milan, Italy, 1974
The Painted Word, Tom Wolfe, pp. 107-08, 1975
“South of the Slot,” (Group of performances at Bluxome St.), Phil Linharas, Artweek, January 11, 1975 Interview. La Mammelle, San Francisco, CA, Spring 1976
“The Two Faces of California,” Newsweek, p. 55, September 6, 1976
“Deja Vu,” San Francisco Magazine, pp. 94-95, December 1976
“Mellow Marioni Still Off the Wall,” Thomas Albright, San Francisco Chronicle, April 30, 1977
“Report from San Francisco,” Carter Ratcliff, Art in America, May/June 1977
“Tom Marioni and the Sound of Flight,” Bill Kleb, Artweek, p.7, June 4, 1977
“An Artist’s Right to Remain Silent,” Thomas Albright, San Francisco Chronicle, September 29, 1977
“Toward a History of California Performance: Part One,” Moira Roth, Arts, February 1978
“The Sound of Tooting My Own Horn,” Tom Marioni (Sound Sculpture), Journal LAICA, #22, pp. 63-64, March/April 1979
“Space, Time, Sound,” Suzanne Foley, Catalog, San Francisco Museum of Modern Art, 1979
“Art to Make One Foam at the Mouth,” Alfred Frankenstein, San Francisco Chronicle, May 22, 1979
“Denk-Bilder,” von Walter Beyer, Observer, Vienna, Austria, June 13, 1979
Review. (Galerie Dany Keller) Suddentsce Zeitung, Munich, Germany, June 23, 1979
“Performing with Sound,” J. & N. Stodder, Tom Marioni & Terry Fox, Artweek, August 11, 1979
Performance Anthology; California Performance Art, Contemporary Arts Press, San Francisco, CA, 1980 “Performance Art Today, Expression in the Act,” Alan G. Artner, The Chicago Tribune, January 23, 1981.
Review. Kunstmuseum Bern performance, Der Bund, Bern, Switzerland, June 6, 1980
Review. Frank Cebulski, Artweek, August 14, 1982
Review. “Marioni a Master Illusionist’s Act,” Thomas Albright, San Francisco Chronicle, August 17, 1982
“The Merging of Visual Arts with the Theater,” Thomas Albright, San Francisco Chronicle, August 22, 1982
“Museums by Artists,” Art Metropole, Toronto, Canada, 1983
“Establishing an Object’s Worth,” Christopher French, Artweek, January 28, 1984
Art in the San Francisco Bay Area, 1945-1980, Thomas Albright, University of California Press, 1985
“Interview #32,” Barbara Smith, High Performance, November 1985
“Marioni’s Allegory of the Senses,” Kenneth Baker, San Francisco Chronicle, January 4, 1986
“Tom Marioni at Paule Anglim,” Robert Atkins, Flash Art, April/May 1984
“Five Galleries ‘discover’ Neglected Bay Artist,” Charles Shere, Oakland Tribune, January 14, 1986
“Persistence of Memory,” Will Torphy, Artweek, January 25, 1986

Bibliography Continued

Interview. Jamie Brunson, Expo-see, #19, San Francisco, CA, April/May 1984
Review. Bill Berkson, Artforum, May 1986
“Eaton Schoen, San Francisco,” David Winter, Artnews, April 1986
“Kuhlenschmidt/Simon,” Kristine McKenna, Los Angeles Times, August 8, 1986
“Tom Marioni, Museo Italo Americano,” Mark Levy, Art in America, June 1987
“Art for Conception’s Sake,” Charles Shere, The Tribune, Oakland, CA, February 19, 1987
“National Characteristics in Elegant Puzzles,” Kenneth Baker, San Francisco Chronicle, February 18, 1987
“Object Lesson,” Leslie Dawn, Vanguard, Walter Phillips Gallery, Banff, Canada, December 1987-Jan1988
Review. Robert Atkins, Village Voice, October 1988
Review. Ken Johnson, Art in America, February 1989
“Stonehenge Chiaroscuro,” Mark Levy, Art International, p. 66, Spring 1989
“Shadow Boxes Hold Wit, Art Homages,” Kenneth Baker, San Francisco Chronicle, February 17, 1990
“Significant Engagement,” Terri Cohn, Art Week, June 7, 1990
“Art Through the Eye of the Beer Glass,” David Bonetti, San Francisco Examiner, June 8, 1990
“Marioni Rebounds at Capp St. Project,” Kenneth Baker, San Francisco Chronicle, June 16, 1990
“Crown Point Press, Paule Anglim,” Kenneth Baker, San Francisco Chronicle, February 14, 1993
“Playing with Chance and Process,” David Bonetti, San Francisco Examiner, February 17, 1993
“Paule Anglim Gallery,” Marcia Tanner, Artnews, April 1993
“Photograms at Robert Koch,” Kenneth Baker, San Francisco Chronicle, September 17, 1993
“Reconsidering the Object of Art 1965-1975,” catalog Ann Goldstein, Museum of Contemporary Art,
Los Angeles, CA, 1995
“Veterans Week, Meyer, Marioni,” David Bonetti, San Francisco Examiner, February 11, 1998
“Sacred Geometry,” Terri Cohn, Sculpture Magazine, March 1998
“Out of Actions, Between Performance and the Object, 1949-1979,” Paul Schimmel,
Museum of Contemporary Art, Los Angeles, CA, 1998
“Works,” Site of Sound: of Architecture & the Ear. Edited by Brandon LaBelle and Steve Roden.
Errant Bodies Press, Los Angeles, CA, 1999
“Marioni Drawings,” David Bonetti, San Francisco Examiner, December 17, 1999
Review. Ken Johnson, The New York Times, April 7, 2000
“at Margarete Roeder”. review, Sarah Valdez, Art in America, July 2000
“Tom Marioni Trees and Birds, 1969-1999”, Marcia Tanner, Mills College, Oakland, CA
Performance Artists Talking in the Eighties” Linda Montano, University of California Press
Out of the Box, The Reinvention of Art 1965-1975, Carter Ratcliff, Allworth Press. NY 2000
“Epicenter” Mark Johnstone, Chronicle Books, San Francisco, CA
“It’s really art drinking beer and gabbing with friends”, Jesse Hamlin, SF Chronicle Feb. 13, ’04
“Beer, Art and Philosophy” review, Frank Cebulski,, July Aug ’04
“Beer, Art and Philosophy, review, Alison Bing, Artweek, Sept 2004
“Beer, Art and Philosophy, review, Terri Cohn,
“New Music Box” Web Magazine, American Music Center, March 2004
“Tom Marioni at YBC, review, Mark Van Proyen, Art in America, Nov. 2004

Public Collections

Oakland Museum, CA
Santa Barbara Museum of Art, CA
Newport Harbor Art Museum, Newport Beach, CA
San Francisco Museum of Modern Art, CA
Consortium, Dijon, France
Museum of Modern Art, New York, NY
Stadtische Kunsthalle, Mannheim, Germany
Museo Italo Americano, San Francisco, CA
Chase Manhattan Bank, New York, NY
Bank of America, San Francisco, CA
Wilhelm Lehmbruck Museum, Duisburg, Germany
M.H. de Young Memorial Museum, San Francisco, CA
Mills College Art Museum, Oakland, CA
California State University, Los Angeles, CA
UC Med Center, San Francisco


Beer, Art and Philosophy: A Memoir. (TOM MARIONI)?San Francisco: Crown Point Press, 2003. Introduction by Thomas McEvilley. With illustrations by the author. By Frank Cebulski. 223 pp.


The subtitle and leading epigraph to Tom Marioni’s memoir, “Beer, Art and Philosophy: A Memoir” is appropriately, “The Act of Drinking Beer with Friends Is the Highest Form of Art.” Those familiar with Marioni’s art know immediately that this pronouncement is no idle statement of passing humor, but a proven fact of his work itself, since his studio includes a full bar where he meets every Wednesday with selected friends to drink beer, converse, and create the “highest form of art.” (p. 27) After being removed from his position as curator at the Richmond Art Center, in Richmond, California, for his provocative and daring exhibitions, Marioni founded in 1970 the Museum of Conceptual Art (MOCA) in San Francisco. This museum became his “life’s work for a decade.”

Through the museum, he tried “to define Conceptual Art with words and demonstrations.” He is particularly concerned with defining California Conceptual Art, as distinct and different from International Conceptual Art and New York/East Coast Conceptual Art. The distinctions he makes and substantiates through his works, and now in this memoir, are significant and clarifying. Italian Conceptual Art of the ‘60s and ‘70s, for example, is all about Arte Povera (poor art), whereas Germans usually define Conceptual Art as “a scientific principle.” (p. 26). As an international movement Conceptual Art “took on different forms depending on its location.” In England, prehistoric earthworks and stone circles, like Stonehenge, influenced the development of Land Art. In “New York, Conceptual Art meant Language Art,” but a Language Art based on “systems.” California, however, “is like a separate country,” where there was “no literary tradition except the Beat poets.” This judgment, of course, is not historically accurate, for it denies the clearly established literary tradition of California writers of the 19th century and those of the 1930s and ‘40s that included such recognized poets as Kenneth Rexroth, Robert Duncan, and William Everson (Brother Antoninus), all writing in San Francisco in the decade before the Beats. Conceptual Art in Los Angeles, for Marioni, is influenced by the beach, the weather, Hollywood, Mexico, and Japan. In San Francisco, “the culture is European and Chinese.” And, Marioni declares, “I am a product of that tradition.” (p. 27)

The Museum of Conceptual Art no longer exists. The “social artwork, Café Society,” which he created in the ‘70s, included one of his best-known works, The Art of Drinking Beer with Friends is the Highest Form of Art (1970). This social artwork has now “evolved into an artist’s club called the Society of Independent Artists.” One of Marioni’s most famous conceptual works, of course, is his sound art piece (Piss Piece), where after drinking several bottles of beer he climbed up a ladder and urinated into a bucket (with his back to the audience, he notes), which produces a sound of different tones and frequency as the bucket fills.

This art memoir is also truly an interesting personal memoir, for Marioni starts with his life as a child in Cincinnati in the ‘40s, tells us about his family and friends, and brings us forward with him to the present. He recounts many interesting coincidences in his life where his life touches famous artists and architects early in his career, and then later he becomes friends with them or creates works that are part of their works—like his relationship with John Cage and Marcel Duchamp and his commissioned sculpture for the Marin Civic Center, designed by Frank Lloyd Wright. These stories and the explanations and descriptions of his many conceptual works of art and the circumstances surrounding their evolution and development, create a text of engaging interest with important historical context and documentary evidence.

Marioni deliberately writes in a simple style, with short epigrammatic sentences that by their very simplicity produce the depth, texture and fabric of parable. His subtle humor only lightly covers the seriousness of his intentions, however, as when, for example, he criticizes museum curators he has known for the incestuous nature of their cyclic nepotism. The drawings that accompany the text graphically recall his works and add not only pictorial interest to the book, but in fact become iconic depictions of the conceptual works themselves, like sketchy records of remembered physical events.

This is an important work for sculpture, for Marioni holds that the origin and impetus of Conceptual Art resides not in pictorial art but in sculpture. His analysis of the development and influence of Conceptual Art and its origins is indispensable for a true comprehension of this important worldwide movement. The introduction by Thomas McEvilley presents an aesthetic setting and background for the memoir and puts an art historian’s perspective on Marioni’s life and work. McEvilley views New York Conceptual Art as derived from the idea of the sublime, a preoccupation of Abstract Expressionist painters of the ‘40s that which became essentially a theological movement based on the theory of Edmund Burke. To give Marioni his due, however, he admits himself that the curator in him “likes to talk about what my objects mean to me,” but that the mystery can disappear if “things are overexplained.” Now when people ask him what he is working on, he replies, “Psychic sculpture.” When they ask, “What is that?” He says, “It will come to you.” (p. 186)


January 1 - April 30, 2012

Tónia Coll, Llit, 2011, assemblage of plastic toy and hair, 4,5 x 2,6 x 2,1 in.


L’assalt als grans temes: heus aquí una probable vocació de l’artista.
Això sí, els grans temes poden ser tractats amb sordina irònica,
o ser reconstruïts amb material humil, o simplement ser acarats per decidir
que, fet i fet, no són tan grans. Com molt bé dóna a entendre l’escriptor
Joan Pons en el seu camusià escrit, amb «La flor i la presó»
Tónia Coll ha afrontat un seguit de paradoxes molt estimulants:
el límit geogràfic que allibera, per exemple.
O el joc subtil entre la destrucció i l’amor.
I moltes altres, en realitat. Descabdellar els significats
de «La flor i la presó» no és, però, la funció d’aquestes breus paraules
que us adreç. Més aviat, voldria fer ressaltar la importància
de continuar amb el projecte editorial de la col·lecció «ARTIB».
En els darrers anys, Coll ha esdevingut un referent imprescindible
de l’art a les Illes Balears. Incorporar-la al catàleg és tot un encert
que es complementa amb el magnífic text de Pons,
un autor que enguany ha tornat a recollir elogis merescuts
per la seva novel·la La casa de gel.
Imaginar una casa de gel és imaginar un espai tan poc acollidor com una presó.
I, així i tot, Coll i Pons saben transformar el límit en virtut.
Els qui s’acostin a «La flor i la presó» descobriran que la memòria
s’ha de transformar inevitablement per no esdevenir fang, aigües mortes.
Amb la seva obra, Coll al·ludeix a una memòria personal i col·lectiva,
però ho fa per projectar-la cap a un nou territori:el de la vida que palpita.
Per això, l’espectador s’amara de la seva proposta, i hi pot reconèixer veritats universals:
aquest esforç de Tónia Coll ens ha de proporcionar moltes més alegries en el futur.
De moment, i com a fita en la seva trajectòria, el volum que teniu a les mans
dóna fe de la seva maduresa artística.

Bartomeu Llinàs Ferrà
Conseller d’Educació i Cultura


Quina és la porta natural de Menorca? És una pregunta sense cap
resposta. L’illa és com una casa sense portes ni parets ni sostres,
oberta al cel, a la mar i al vent. No podem viure sense límits. La
geologia ens els imposa. La ment, no, afortunadament. En sabem
les coordenades i, amb aquesta informació cartogràfica, ens podem
situar de forma imaginària damunt el mapa.
39º 57’ N, 4º 3’ E.
Ja tenim una cosa palpable. Un indret. Un començament. Un codi
secret. És la clau xifrada que ens permetrà entrar a l’illa. Però no ens
enganyem. Aquest codi genètic és un miratge, una falsa il·lusió. Les
illes tenen les seves pròpies lleis, les seves pròpies normes, el seu
propi temps. Un temps diferent al temps dels continents.
Encegats per la set i el sol, els viatgers romàntics van caure en l’error
del miratge i les van anomenar les illes oblidades. Una ingenuïtat colonial.
Només és una qüestió de grandària. Un punt de vista tan vàlid
com qualsevol altre. El punt de vista dels continents. A les illes els és
indiferent. Tant els fa si algú les ha oblidat. Qui? Els homes i les dones
que les han estimat. Perquè les illes són com les persones belles i
desitjades que saben que sempre —mentre continuïn sent belles—
seran desitjades i tindran pretendentes o pretendents. No són seductores.
Són objectes de seducció. Són, sobretot, independents.
No, no són les illes, les oblidades. Són els continents. Si més
no per a les illes. Les illes han estat continents. I els continents
són illes que pateixen gegantisme; només cal mirar un globus
terraqüi. O repassar la història geològica d’aquest mar nostre que
anomenem Mediterrani.

Topades continentals, illes que es van formant i serralades que es
van alçant. Noves col·lisions entre continents, estrets que es tanquen
i mars que s’eixuguen igual que un plat amb aigua de marès
exposat al sol blanc. Illes que havien estat illes i que deixen de ser
illes per convertir-se en una gran muntanya enmig d’un desert de sal.
Estrets que tornen a obrir-se gràcies al moviment constant de l’escorça
terrestre i masses d’aigua que retornen allà d'on no havien d’haver
sortit mai. Illes tornant a ser illes dins un mar inundat i una nova era
de glaciacions que provoquen que grans quantitats d’aigua quedin
atrapades als casquets polars. El nivell de la mar que continua davallant
i les joves illes que s’uneixen com dues germanes bessones de
l’antic regne de Siam. Desglaç parcial dels casquets polars i el nivell
de la mar que torna a pujar. Illes ja més antigues que se separen per
sempre (?), però que continuen compartint plantes, animals i espinades

Costa imaginar aquests canvis que abastaren milions d’anys.
Costa imaginar la Mediterrània eixuta com un bacallà.
Costa imaginar Menorca envoltada d’un desert de sal.
Costa imaginar Menorca i Mallorca formant una única illa més gran.
Costa imaginar Menorca a mercè de les oscil·lacions hídriques provocades
pels casquets polars.

Ens costa fer aquest exercici mental, perquè els éssers humans
tenim una visió rígida del món i ens és difícil substituir-la per una
percepció més plàstica, més dinàmica i, en el fons, més real.
Per començar, de totes les decisions importants que la vida
ens va plantejant, la d’abandonar la llar familiar és tal vegada la
més primitiva i transcendental. Goya la va immortalitzar amb la
visió lateral i minúscula d’un ca. Perro semihundido en la arena.
Per als illencs, aquesta decisió domèstica és més costosa. Tal
vegada per açò, a l’hora de perpetuar-la en una llegenda, l’inconscient
col·lectiu menorquí va optar per la tragèdia rural. Sa
nuvia d’Algendar.
Una bellesa humana. Un paisatge solar. Unes
noces. Aigua que flueix fins a la mar. Una bruixa que anticipa
l’avenir. Un segrest per part d’un príncep o un pirata malvat. Un
naufragi. La vida miserable augurada per la vella despentinada a
l’altra banda de la mar. Una fugida. Un retorn. La bogeria davant
la casa a la qual estava destinada.
La casa com a flor. La casa com a presó. L’illa com a flor. L’illa
com a presó. La flor i la presó. Per a les cases i per a les illes
les dones són més importants que els homes. Per a les cases
i per a les illes els perills provenen de l’exterior. El preu que pots
arribar a pagar si finalment decideixes abandonar la casa o l’illa
pot ser devastador.
Però no és veritat. O, si més no, no és veritat total. El romanç
traspua una petita escletxa de llum. La llegenda deixa entreveure
que la bella núvia que acabarà convertida en el presagi del seu
futur està enamorada de l’estranger. És un segrest pactat. La
núvia vol que l’estranger la tregui del seu món i la porti a un indret
millor. No. Les desgràcies sempre són interiors. El mal comença
a gestar-se ben endins. I també la fortuna. I el bé. Nosaltres ens
llaurem el nostre propi destí. Les conseqüències són el premi —o
el càstig— que hi ha darrere la retxa de l’horitzó.
Els avantpassats materns de l’escriptor francès Albert Camus
de ben segur que coneixien la llegenda de la núvia viatgera. És
molt probable a més que l’haguessin contada a l’hivern, mentre
passaven les vetllades davall la porxada o a l’estiu, mentre
prenien la fresca al pati de la casa de Sant Lluís. Allà, al sudest
insular, un dia de Nadal, havia nascut la seva àvia, Catalina
Maria Cardona Fedelich. La situació econòmica a Menorca era
precària i els Cardona van haver d’emigrar. A l’illa van deixar
la casa blanca de Pou Nou, amb el pensament, tal vegada,
de tornar-hi com els passa a tots els errants esperançats. Les
dones de la família, mentre el vaixell sortia del port de Maó en
direcció a Àfrica i deixava la península de la Mola a babord, tal
vegada pensaven en la sort de la núvia de la llegenda popular.
Tal vegada, des de la coberta del veler, se senyaven perquè la
maledicció no es repetís. Tal vegada van veure una vella encorbada
pintant un rivet vermell mangra a la paret blanca d’una
casa del port. Supersticioses com la majoria de menorquins, tal
vegada van creure que la dona vestida de negre hi dibuixava la
narració del seu futur. Com passa amb totes les desmesures
de la imaginació anaven errades encara que copsessin el sentit
abstracte del món. Dos fets, de ben segur, va deixar de dibuixar
a la pantalla del rivet l’emblanquinadora menorquina amb el
mocador al cap. Un, que un descendent rebria un dia el Premi
Nobel de literatura. Dos, que el seu nét famós moriria en un ac-
cident de circulació. Albert Camus s’havia mogut durant tota la vida
entre domèstiques dones de camamil·la i exquisides i exòtiques dones
orquídia. Se sentia esquinçat entre les senzilles madones figues
de moro i les exquisides damisel·les de París. La vida és inquietud
i l’univers original és més estàtic i segur. La vida, però, és agitació.
Ningú no pot restar parat. Ens ho demostra la mar. També la història
geològica del món. Tot gira. Res no resta aturat. Fins i tot la carn
continua vivint en la putrefacció.
Primer la nina i després la dona. «Las muñecas y nosotras éramos
iguales». Després, com deixa entreveure el vers de Marosa di Giorgio,
ja no. Després, els cabells de les dones són els tesos i excitants brins
que ens mantenen units al món. Penèlope teixeix de dia el sudari i
el desteixeix de nit per donar temps a Ulisses i enganyar els pretendents
que han pres possessió del palau interior. Mentrestant, pentina
els seus llargs cabells davant el mirall. Ulisses tampoc no ha parat. És
com Camus. O com Hartung. O com sa nuvia d’Algendar. També com
el murmuri de la mar: «Jo sóc la solitud que indaga i mai no promet res;
/ així és com seràs alliberat. D’amor, no n’hi ha gens; / només enveges
diferents, i totes tristes».
Uns versos pessimistes i més si observem el nostre voltant. La mar
diposita en la sorra de les platges precioses pedres treballades
per les onades, mol·luscs recoberts amb nacre i paciència, tresors
antics carregats de records, restes de naufragis, cristalls perfectes,
auguris i premonicions.
També persones.
Després de recórrer el vast món, Hans Heinrich Ernst Hartung, el pintor
que d’al·lot volia ser astrònom, va triar una illa per fugir de la pròpia
agitació. Menorca. A la platja de cala Tirant va dissenyar a l’arena els
plànols d’una casa blanca amb l’ajut de la seva esposa, Anna-Eva
Bergman. En aquella casa de marès i en aquell paisatge del nord va
renéixer com a pintor. La vida, no obstant això, no és fàcil per a un
artista en una illa petita si es té l’esperit d’un ciclop. Confós amb un
espia alemany va patir la violència i la incomprensió de l'estreta comunitat
insular. Hans Hartung va abandonar Menorca en companyia
de la seva dona i amb els rotllos de les seves teles abstractes sota
el braç. Destinació? Oslo. La casa va quedar allà, damunt l’arena,
d’esquena a la mar de cala Tirant. La gent de Menorca la va anar
desmuntant biga a biga, bloc a bloc, bastidor a bastidor; i la casa va
desaparèixer i va quedar en el lloc original un cocó de sal.
216 quilòmetres lineals de costa. Una altra xifra exacta que ens
retorna una altra vegada a la realitat. Amb tants de forats a la
crosta càrstica, tal vegada la porta de Menorca és subterrània.

Davant Ciutadella hi ha submergida la ciutat de Parella. Més al nord
existeix un passadís secret que uneix l’antic castell de Santa Àgueda
i la mar de tramuntana. En aquest mateix mar septentrional hi ha un
riu subterrani que flueix fins a les fonts de Menorca. Aquesta aigua és
dolça i neix a la serralada emblanquinada dels Pirineus. Campanes de
plata, vedells d’or, voltes d’alabastre. Rossinyols que canten damunt la
mar de nit, cavalls negres a les valls que galopen cap a la posta de sol,
llops que udolen davant la boca de les fonts glaçades. És massa polit
per ser veritat, però importa ben poc perquè la bellesa ja és veritat.
Només volem que les imatges parlin i només ho poden fer amb
aquesta capacitat infantil de fabulació i de meravella amb què la
història forja el caràcter: «Els pous, les línies arquitectòniques i els
noms que deixaren els àrabs; el sentit cívic de la religió, la llengua i
les lleis dels catalans; la consciència del perill exterior que despertaren
els espanyols; la cultura i refinament que van sentir amb els
francesos; el respecte a les llibertats i la prosperitat que aportaren
els anglesos (...). Senzills i reaccionaris, es van oposar a les innovacions;
sobris i feiners, s’apartaren dels privilegis; incomunicats
i amenaçats, s’aïllaren i es van recloure. Com les seves rudes i
desgastades terres tancades entre murs mil·lenaris, com les seves
embullades marines mediterrànies envoltades de praderies, com
els seus emboirats penya-segats i amagades platges, Menorca és,
en la seva història, austera, infrangible i secreta».
Poques persones van entendre millor Menorca que Micaela Mata.
A vegades la mirada amiga de l’estranger sap interpretar amb més
claredat el nostre reflex al mirall.

90.000 habitants. Una dada que va fluctuant amb el flux de les
migracions i amb els índexs de natalitat i que hem arrodonit com
en una ingènua operació infantil escolar. La ciència capta els fenòmens
i els enumera, però no podem aprehendre el món a través de
la ciència. La imatge reflecteix el món, però la seva lucidesa diàfana
s’esvaeix en la metàfora. De fet, de totes les illes de la Mediterrània,
Menorca és la més allunyada del continent.
La porta de Menorca no és subterrània, no. El subsòl de l’illa reté
l’aigua dolça dels aqüífers naturals i conserva en la seva eternitat lítica
el gòral, la cabra extingida que ens protegeix des de les profunditats.
No. Té raó Auden. Hi ha massa portes i massa corrents; massa coves
i massa llacs immòbils davall els mants grocs de camamil·la a
punt d’esclatar; massa pugnes entre l’aigua dolça del subsòl i la pedra
calcària que va llepant; massa tensions entre els buits de la costa
i la força hidràulica de la mar. L’illa cruix i s’estremeix i esquitxa el cel
amb els bufadors ingènuament infernals. Només és un principi físic,
però no ens hi conformem. No, no hem trobat la porta de Menorca
en el litoral i en el seu perfil càrstic i esquerdat. Auden ja ho va cantar.
Estem massa avesats a la pedra que ens parla i ja no li fem cas. No
et pots refiar d’un paisatge que pot ser dissolt per l’aigua.

Cansats de tantes invasions que canviaven el mapa estratègic de
la Mediterrània, els governs europeus van decidir posar una porta
que tanqués l’entrada a Menorca. El castell de Sant Felip havia estat
durant molts anys la porta més segura. Les claus les havien tingut els
anglesos i els espanyols, els francesos —de passada, aquests darrers,
tan sofisticats i despreocupats, havien elaborat per primera vegada
a Menorca la salsa maonesa— i els holandesos. Finalment, els
espanyols havien tirat la clau dins un pou i havien derruït el magnífic
castell de Sant Felip. Les pedres les havien traslladat a l’altra banda
de port, havien obert pedreres verges i havien començat a construir
una nova fortalesa a la península de la Mola. El lloc era ideal. Una
illa dins una altra illa unida només pel cordó umbilical de l’istme dels
Freus. Es van seguir els nous sistemes de defensa francesos que
augmentaven l’eficiència de les fortificacions en baluard. Quan es va
inaugurar la fortalesa que mirava doblement el mar, la reina Isabel II
s’esperava que les escales serien d’or. Després de banyar-se a l’aljub
principal, va deixar per sempre la fortalesa. Massa polit per ser veritat,
però a qui importa que sigui veritat? Com diria Georges Perec, l’autor
del guió del reportatge de televisió i després llibre Ellis Island, hem
anat amunt i avall per desenes i desenes de corredors, hem visitat
desenes i desenes de galeries, de peces de totes mides, d’aljubs
amb voltes o sense voltes, d’excusats comunitaris o privats, de fossats
o murs fortificats, de places o de pous de càrrega, de bateries
o de terrasses assolellades, de laberints de pedra o de canoneres, «i
cada vegada demanant-nos, intentant representar-nos, què hi passava,
a què s’assemblava, qui hi venia, i per què, qui recorria aquells
passadissos, qui pujava aquelles escales, qui esperava en aquells
bancs, com s’escolaven aquelles hores i aquells dies, com ho feia
aquella gent per alimentar-se, rentar-se, colgar-se, vestir-se?».
La fortalesa va quedar obsoleta en quatre dies. Mai no va ser atacada,
mai no se'n van disparar els canons. Tanta pedra, tanta enginyeria,
tant d’espai robat al vent per no res. Quarter, penitenciaria,
centre d’atracció turística. Altres usos que no havien imaginat
els enginyers. Ni tampoc la reina Isabel. El poeta Auden ens ha
mostrat les similituds que hi ha entre la pedra de marès i la mare.
La fortalesa de la Mola, construïda en la seva vasta totalitat amb
pedra calcària, és una segona illa connectada per una llesca de
terra a vegades inundada per una delicada làmina d’aigua. Si la
família és una metàfora de la societat i l’illa és una metàfora geològica
del món, la fortalesa de la Mola és una metàfora calcària de la
resiliència de Menorca.
Durant aquest viatge hem cercat la porta de l’illa amb paraules. Deu
ser la porta de la Reina, l’entrada principal fortament protegida que
dóna accés a la fortificació, la porta de Menorca? Inalterable, la flor
de camamil·la ens revela la solució. Els homes han passat per la fortalesa
deixant-hi retalls de vida, d’amor i de mort. Tots han desaparegut
deixant-hi gravades petites petjades que no recorda el vell món.
Enginyers, militars, picapedrers, presidiaris, soldats, mariners, prínceps
i reis. Només n’han quedat els ecos. La camamil·la, en canvi,
s’ha mantingut a mercè dels vents, de les tramuntanades que arros-
segaven la sal del mar i la deixaven damunt les fulles i les branques de les
mates. Bella i modesta. Útil i domèstica. Esclatant i alhora insignificant.
Creixent i sobrevivint al costat del mar i a la vorera dels penyals. Sentint
els crits de dolor de les víctimes i les rialles dels soldats desenfeinats,
escoltant les paraules esperançades d’ànim dels familiars que visitaven
la penitenciaria o llegint els laments dels presoners escrits amb fúria estancada
als murs de pedra mitjançant un rudimentari reble o un altre
objecte tallant similar. Espargint l’aroma agresta als quatre vents, mostrant
la bellesa de les seves flors daurades o oferint al caminant el remei
casolà de la seva mil·lenària i domèstica infusió.
La flor i la presó. L’or i el rovell. L’amor o l’odi més pregon. Allò que roman
és la bellesa i la memòria del dolor. La resta són focs d’artifici.

Las muñecas y nosotras éramos iguales

Una de les nines penjades davall les parres es deia Camali. Li havia
posat aquest nom perquè tenia les cames molt llargues. Jo li deia així
despectivament, ja que no era la nina que esperava que em compressin
els pares. Jo n’havia demanat una altra que havia vist a l’aparador d’una
botiga. Era petita, dolça, amb rínxols, i crec recordar que portava un
vestidet blanc amb randes i seia en un gronxador penjat del sostre amb
cordes primes. La Camali era grandota, camalluda, i tenia els cabells
castanys. Penjada davall la parra, encara portava el vestit que li havíem
fet entre la mare, l’àvia i jo amb retalls dels nostres vestits, imitant-los i
seguint la tendència de moda de l’època. Vam cosir-li diferents conjunts
i així me la vaig anar fent meva. L’altra nina ens havia tocat a una tómbola
durant les festes del poble i allà, sota els pàmpols, duia un vestit que
havia cosit la mare amb retalls d’un vestit seu.
Un dels tresors de la casa familiar sempre havia estat la capsa de
les talladures. Amb la distància que et dóna el temps, aquella capsa
m’evoca una frase de la poeta Marosa di Giorgio: «Las muñecas y
nosotras éramos iguales». Penjant davall les verdes fulles, joguines
rompudes, amb la cara florida, els ulls esglaiats i els cabells embullats,
executaven la seva nova funció acariciades per un ventet d’estiu suau
i càlid. I a mi em venia el punt amarg i definitiu de la pèrdua. Les nines
descol·locades ballant a l’ombra verda. Brodats, farbalans, cintes de
seda fúcsia i una pluja de flors estampades. Aquells vestits de cop
s’il·luminaren amb tota la intensitat del sol.
Les vaig despullar i en vaig guardar els vestits.
Aquells espantalls de plàstic brut que havien acomplert la seva funció
van ser despenjats i llançats al foc. Una flaire de goma socarrimada
acompanyada del fum del fester reductor s’enlairà cap al cel net i clar,
d’un anyil antic i sempre nou.
A començaments de la tardor, el pare va fer vi amb el raïm que no
s’havien menjat els ocells.


Va néixer a Ferreries (Menorca) el 17 de febrer de 1965. Després de passar la
infantesa i la joventut a l’illa, va desplaçar-se a Barcelona, on va estudiar belles
arts a la Universitat de Barcelona. Després d’una estada a la Bristol Polytechnics,
va prosseguir els estudis fent els cursos de doctorat i va defensar a la
mateixa Universitat la tesi Miquel Barceló. Insularitat i creació, que va obtenir la
màxima qualificació acadèmica. L’editorial Columna, de Barcelona, es va interessar
en la publicació del treball, que l’any 2000 va sortir en forma de llibre.
Després d’impartir classes a la facultat on havia estudiat, Tónia Coll va guanyar
la plaça de professora titular al Departament de Pintura, on ha coincidit amb
altres artistes de la talla de Joaquim Chancho o Joan Hernández Pijuan. Docència
universitària, cursos artístics, vida familiar, creació artística... Tónia Coll
s’ha convertit amb el temps en una artista global que domina, gràcies a la seva
formació moderna, tots els gèneres i formats de l’art contemporani: pintura,
fotografia, dibuix, vídeo, il·lustració, assaig o instal·lació.
La seva obra forma part d’importants col·leccions privades i públiques, com
la de la Universitat de Barcelona, la del Consell Insular de Menorca, la de la
Fundació Sa Nostra o la de la Fundació La Caixa. Ha rebut premis i guardons
de pintura i ha fet exposicions individuals importants, com «El cant de les
sirenes», a la sala d’exposicions de Sa Nostra a Ciutadella (1997), i diverses
de col·lectives. «La flor i la presó», un diàleg entre l’art i l’espai on està exposat,
és la culminació d’aquest viatge artístic iniciat a l’illa de Menorca. «La flor i la
presó» és una exposició entesa també com a punt de partida i taller de noves
experiències artístiques que es puguin anar produint. L’oblit o la memòria, el
dolor de les dones i la seva capacitat de transformació, la convivència, en un
mateix paisatge i espai temporal, de la bellesa i l’horror, la reflexió intel·ligent
sobre la insularitat, les tensions entre nomadisme i sedentarisme, la relació
de la dona i el món. La recuperació de materials la presència dels quals es
redueix a les llars i que l’art ha considerat poc nobles, i la intensificació irònica
del seu poder de metamorfosi.


Sarawut Chutiwongpeti, The installation series of "Untitled 2004" (At the Dawn of the 21st Century : A View Thought "The Red Window" The Critical Time of the World Civilization), 2004, digital photography on Diasec, 7 x 5 in


This art project work (a three-dimensional work and mixed media installation) focuses on the mechanisms of perception and dreams, the private world of the world of fantasy and the unconscious, the conditions underlying the system by which mind and spirit operates. At the same time, the (in)-visibility of the structure ignites a confusion in the viewers' perception of the work and of the space where it is placed, thus provoking and ambiguous relationship between the object, its function and its appearance and unlock a mysterious force field on the border of truth and lie, that is able to create unexpected angles of approach which in turn force the viewer to take up a new position in the observation of the surrounding world.”

I graduated from the Department of Fine and Applied Arts at Chulalongkorn University in 1996. Since graduation, I have been working as a media artist with Cyber Lab at the Center of Academic Resources, Chulalongkorn University. I work in the realm of contemporary art and am interested in revealing the unexplored facets of experience. In 1998-2010, I secured funding and traveled as a visiting artist/researcher to several countries such as: Canada, the United States of America, Denmark, Finland, France, Norway, Sweden, Slovenia, Slovakia, Hungary, Croatia, Austria, Italy, Germany, United Kingdom, Egypt, Singapore, Sri Lanka, Malaysia, Korea and Japan. I have already made some contribution to the development of the media arts through my artistic and research practice, and related international activity at the Banff Centre for the Arts (Canada), ImaginAsia Project, Smithsonian Institution (The Freer Gallery of Art and The Arthur M.Sackler Gallery, United
State of America), ZKM Project, (Institute for Visual Media, Germany), Designskolen; Biennial Theatre Festival - Sight 'n Vision, Nordic Theatre Union (Denmark), Fukuoka Asian Art Museum; Collaboration Art Network In-Between; Waseda University; Kobe University of Design (Japan), Central European University (Hungary), International Cultural Centre Jeunesses Musicales Croatia Groznjan (Croatia), The TOU SCENE Contemporary Centre of Art; The Nordland Kunst 0g Filmskole; The Trondheim Electronic Arts Centre; The Kunstakademiet Trondheim (Norway), Luleå Winter Biennial; The Beeoff/Splintermind; The Ricklundgården and The Royal University College of Fine Arts (Sweden), Kiasma Museum of Contemporary Art, The Pro Artibus Foundation and Art Centre Saksala ArtRadius (Finland), Galleria Civica di Arte Contemporanea and rodesera>Centrale fies (Italy), MAAP-Multimedia Art Asia Pacific, Nanyang Technological University (Singapore), Rimbun Dahan and ABN AMRO-Malihom (Malaysia), Designing Your Future, Berlinale Talent Campus 2005, Haus der Kulturen der Welt (Germany) and Biennale Bibliotheca Alexandrina 2005, Arts Center, Bibliotheca Alexandrina (Egypt); Gyeonggido Museum of Modern Art, National Museum of Contemporary Art, Danwon Arts Museum, Arko Museum, Songsan Art Hall, Alternative Space Loop, Soeul Art Museum , Hankuk Art Museum, Korea International Art Fair (Korea), ADCNI Biennale 2009 (Reunion, France) and Flaxart Studios (United Kingdom).

I am directing my energies towards the exploration of the phenomenon of cross-interdisciplinary of art and culture, and searching for answers that can help reverse the subordination and objective materialism, which are prevalent in today‘s society. What are the thoughts, doubts, fears, uncertainties, and reflections that we have and experience as we head towards the new material and immaterial territories, which we are to inhabit in the future? In a world increasingly becoming chaotic and inhumane, I found that all around us are racial and tribal wars, artificially constructed boundaries, confusion, and conflicts. How should we interpret these? Signs of Times? in their context? In what way are contemporary media arts responsible for a transformation of society?
The concept of the art project "At the Dawn of the 21st Century: A View-Thought „The Red Window” (“The Critical Time of the World Civilization") originated in the digital experiments with the photomontage materials.

Later, I added some architectural elements, electronic light controls, sound effects, so that this project evolved into a three-dimensional work. I combined all these elements and blended them in the abstract world of my imagination, in order to create in reality an artistic and public space lived through time. Since 1996, this project has been accepted to several exhibitions: “Tomorrow Where Shall We Live?” (curated by Toyo Ito and supported by the Japan Foundation, Faculty of Architecture, Chulalongkorn University, 1996); “Utopia 1997” (curated by Apinan Poshyananda, the Art Center, Center of Academic Resources, Chulalongkorn University, 1997); “OPEN’ 999,” 2nd International Exhibition of Sculpture and Installations in Lido, Venice/“II Esposizione Internazionale
di Sculture e Installazioni Lido di Venezia” (curated by Paolo de Grandis and Pierre Restary, organized by the Arte Communications and supported by the Assessor of Culture of Venice, Italy, 1999); “Siggraph 2000” (curated by Diane Gromala, Art Galleries, Ernest N. Memorial Convention Center, New Orleans, USA, 2000); "Palace of Light, Art and Culture in the Public Space" (curated and organized by Davis O. Nejo, Cross Cultural Communication, supported by European Union and Wien Kulture, Vienna, Austria, 2003); "Metamorphosis", "International Festival of Sculptures”, (curated by Zoran Srdi, University of Ljubljana, Ljubljana, Slovenia, July 2003); Luleå Winter Biennial 2004” (curated and organized by KILen-The artist group in Luleå, supported by The European Union Structure fund Goal 1, Luleå municipality, Luleå Employment office-Culture and Media, County Administrative Board of Norrbotten, Norrbotten County Council, The Swedish National Council for Cultural Affairs and The Swedish Institute, Luleå, Sweden, 2004); The Installation series of Untitled (Wishes, Lies and Dreams >> Heartsick On The Open Sea With Stars…), (curated by Åsa Lönnqvist, Peter Heinström and Magdalena Holm, The Pro Artibus Foundation Gallery, Ekenäs, Finland, 2005); The Installation series of “Untitled 2007” (curated and organize by Uchida Hiroshi, support by The Japan Foundation, 2007); “The Installation series of Untitled (Wishes, Lies and Dreams >> Tomorrow is Another Day...)”, "Art Now 2007", (curated by Hong-hee Kim, Gyeonggido Museum of Modern Art, Gyeonggi-Do, Korea, 2007) "Installation series of Untitled (Wishes, Lies and Dreams)”, (curated and organize by Eunjung Son and Sohee
Kim /Curator, Alternative Space LOOP, Somee Kim/Program manager, MIZY Center, PROJECT STANDING BY OOO. season4, XI Gallery, Seoul, Korea, 2008); “Installation series of Untitled (Wishes, Lies and Dreams)”, (curated and organize by Cheong Jong Hyo, Choi A Reum, KIAF Operation Committees and Galleries Associate of Korea, Korea International Art Fair 2008, Seoul, Korea, 2008); “The Installation series of Untitled (Wishes, Lies and Dreams)”, (curated by Anna Kang, Changdong Public Art Project, National Museum of Contemporary Art, Seoul, Korea, 2008) ; “Installation series of Untitled (Wishes, Lies and Dreams)”, “Red Carpet” (curated by Yoon Soo Kim and Jae won JEONG, IASK- National Museum of Contemporary Art, Seoul, Korea, October 2008 (Catalogue and Press Release); “The Installation series of Untitled (Wishes, Lies and Dreams>> I Want To Believes..!)”, (curated and organize by Alain Seraphine and committees of the ADCNI,
ADCNI Biennale 2009, Réunion , France, 2009); "The Installation series of Untitled (Wishes, Lies and Dreams)”, (curated by Michael Davidge and Jocelyn Purdie, Modern Fuel Artist-Run Centre and Union Gallery, Ontario, Canada , 2009); "The Installation series of Untitled (Wishes, Lies and Dreams)”, (curated by Helga Fox-HF Contemporary Art Gallery, Art Projects , London Art Fair 2010>> Modern and Contemporary British Art, Business Design Centre, London, United Kingdom, 2010); “The Installation series of Untitled (Wishes, Lies and Dreams)”, (curated by Gary Sussman, The Art Students League of New York, New York, U.S.A., 2010) ; "The Installation series of Untitled (Wishes, Lies and Dreams)”, (curated by Flax Art Studios Artist‘s Group, Flax Art Studios, Belfast, United Kingdom, 2010) and “The Installation series of Untitled (Wishes, Lies and Dreams)”, (curated by Robert Wilson, Organize by Benefit Chairs, Contemporary Chairs and Contemporary Committees, Watermill Center, New York, U.S.A, 2010); "The Installation series of Untitled
(Wishes, Lies and Dreams >> He Message...)", (curated by Janaína Melo, The selection committees: Maria Montero (an independent curator and producer), Nathalie Angles (founder of Unlimited Residency in New York), Francisco Magalhaes (director of the Mining Museum), Anita Beckers (collector and owner of Gallery Anita Beckers in Frankfurt), Silke Bitzer (independent curator and art critic in Switzerland), JACA- Jardim Canadá, Centro de Arte e Tecnologia, Belo Horizonte, Brazil, 2010)

The project‘s emphasis is on the two interwoven processes. The first step was to search for new
expressive possibilities afforded by the contemporary visual language, as related to the cutting edge of "The Critical Time of the World Civilization." I have explored the mental processes and various paradigms in order to represent the contemporary civilization clearly, without biases-the action that always constitutes specific challenges for contemporary art, modern art and/or media arts. I had experimented with real-practice problems and analyzed the way in which they affect the internal sense until I was able to come up with the design solution.

The results of the first step will have to be tested and the various findings project will have to be integrated. The conclusion will be drawn when research work associated with the New Art project will have been accomplished and the final ways of art will have been established.

From the 17th century onward, the advancement of new technologies has had a tremendous impact on every human being in the world. At the same time, the scientific developments have provoked numerous ethical and moral issues. High-end technology is often times goes against the faith and religious believes in heaven (just one but vivid example: through the scientific experiments humans managed to produce new life by cloning, in the course of which new cells are being created by means of bioengineering). In my view, the effort to invent new
goods following the demand and basic human needs means simply to satisfy the desire and passion of the basic individual living. The varieties of happiness look as Virtual Reality that refer to the fifth internal senses‘ content only a section short-temporary or extremely mobilize new-science technology to seek benefit of all directions. Nobody even thinks of a future if they know that they can gain immediate benefits from the fusion of sub-particles and atoms. In a search for new territories, they are ready to go to the outermost galaxies of the solar system, for their desire does not know an end. Some people strive to set up and expand their administrative power while
hunting for the new colonies that would reinforce their status as masters in the world. (Looking at the weak subordinate is an act of supremacy.) With the progress of technology, our morality is vanishing. Lack of morality becomes an insanity of the many; including separating a rack of mobility among the gain and the loss, a superior and inferior of an extremely discrimination. Aesthetical feeling, memory, optimism and common sense — all these are being distorted and destroyed because of a profound change in the human behavior in the last century.

Our society is producing nothing in peace. The virgin world was painfully trapped and damaged by illusionist tricks. This current situation cannot be neglected or left without rethinking, and this becomes the central focus as well as the cutting edge of "The Critical Time of the World Civilization.

Our world is full of uncertainties and ambiguities. The society views its surroundings in a purely
scientific way. In my opinion, civilization with its science is unable to provide valid answers or satisfactory explanations. Frequently, knowledge comes with the power whose impact reaches far beyond the individual‘s intuition and intellect. Scientific achievements have challenged moral codes and ethics as well as faith and religion. Science and technology can bring a threat and do harm to the humanity. The reverse side of utopia is pessimism. A human quest to conquer distant galaxies and an endless search for new colonies reflect the longing for power, aggrandizement, and control. The imbalance of power between those who control and those who are controlled has led to a general disorder and the dilemmas. In the era of mass confusion and distorted values, aesthetics and common sense are greatly subverted. In the early 21st century, we are facing the crisis of the world civilization.

I gratefully acknowledge the generous support of The Ministry of Culture and Tourism Republic of
Korea, The Japan Foundation, The Swedish Institute, The Swedish National Council for Cultural Affairs, The Prince Claus Fund, The European Union, The Wien Kulture, The Open Society Arts & Culture Network Program, The Cross Cultural Communication, The Luleå municipality, The Luleå Employment office-Culture and Media, The County Administrative Board of Norrbotten, The Norrbotten County Council, The Kolding Kommune, The Pro Artibus Foundation, The Byrd Hoffman Water Mill Foundation, The Brazilian Ministry of Culture, The Gyeonggido Museum of Modern Art, The Danwon Art Museum , The Arko Museum, The Royal University College of Fine Arts, The Banff Centre for the Arts, The International Cultural Centre Jeunesses Musicales Crotia Groznjan, ZKM-Institute for Visual Media Center for Art and Media, The Designskolen, The TOU SCENE Contemporary Centre of Art , The Nordic Theatre Union, The Central European University, The
Smithsonian Institution: The Freer Gallery of Art and The Arthur M. Sackler Gallery, The Southeast Asian Computer Graphics Society, The Nanyang Technological University, The Fukuoka Asian Art Museum, The Kobe University of Design, The Nagoya Design Center, The Waseda University, The Chulalongkorn University, Alternative Space LOOP, MIZY Center, XI Gallery, Korea International Art Fair, National Museum of Contemporary Art, ADCNI Biennale, Modern Fuel Artist-Run Centre and Union Gallery, Canada Art Council for the Arts, London Art Fair, HF Contemporary Art Gallery, The Art Students League of New York, Flax Art Studios , Watermill Center and JACA-Jardim Canadá Centro de Arte e Tecnologia.

1. Toyo Ito, Tomorrow Where Shall We Live?, Japan Foundation, ISBN 974-89801-4-6, November
2. Pratarn Teeratada, 4d/Society, Art 4d Magazine, December 1996, pp.36-38 (Magazine)
3. Apinan Poshyananda, Utopia 1997, Art Centre, Chulalongkorn University, June 1997 (Catalogue)
4. Siam Post, Utopia 1997, June 1997, p.16 (Article)
5. Vattajak newspaper , Utopia 1997, June 1997, pp. 49-51 (Article)
6. William C.P. Marazzi, Pleasure- Nonsense and Utopia, Living in Thailand, September 1997, pp. 76-79 (Magazine)
7. Sutisa Kanjanapuak, Art Corner, Gent Magazine, August 1997, p.52 (Magazine)
8. Paolo De Grandis and Pierre Restary, OPEN‘999, The Arte Communications, Venice, Italy, September, 1999 (Catalogue)
9. Fukuoka Asian Art Museum, A Lecture by Sarawut Chutiwongpeti on His Work and Media Art in Thailand, Fukuoka, Japan, March 2000
10. Masami Morita, Fukuoka Asian Art Museum, March 2000, VOL 4/P.4 (Newsletter)
11. Kobe University of Design, A Lecture by Sarawut Chutiwongpeti on His Work and Media Art in
Thailand, Kobe, Japan, March 2000
12. Diane Gromala, Siggraph 2000, Art Galleries, Ernest N. Morial Convention Center, New Orleans, Louisiana, U.S.A, July 2000 (Catalogue)
13. Amporn Arrunnapaporn Baggelaar, Thai Art 2000, Thai Art Foundation, Amsterdam, The Netherlands, September 2000 (Catalogue)
14. Fatima Lasay, F O C U S 0 1, Young New Media Artists-The Culture Behind the Machine, the University of The Philippines, College of Fine Arts and, Philippines, July 2001 (Press Release)
15. Steve Armstrong, The changes in our days, Wegway Issue No. 3, Station A, Toronto, Ontario, Canada, April 2002 (Magazine)
16. Stefanie Nagorka and Sur Rodney: Lightbox: A Traving Exhibition of the Visual AIDS Archive Project Art in General , New York, U.S.A. April 2002 (Press Release)
17. Seth Thompson, Reflections on Utopia: Sarawut Chutiwongpeti‘s Work in Perspective, Wigged
Productions, New York, U.S.A, June 2002. (Article)
18. Edwin Ramoran (Curator, The Bronx Museum of the Arts), Revolutions Per Minute, Visual Aids Web Gallery, New York, U.S.A, August 2002 (Article)
19. Celestino Soddu Generative Art 5th international GA2002, Politecnico di Milano University, Milano, Italy, December 2002 (Press Release)
20. Abraham Lubelski, Unforgettable, Berliner Kunstprojekt, Berlin, Germany, December 2002 (Press Release)
21. Brian Reeves, Traveling "Showroom Tour", Slop Art Supplier Relations, U.S.A. Febuary 2003 (Brochure)
22. Karen Mahony, Spiritus Mundi (Spirit of the World), A view of the world in the year since September 11 2001, Baba Studio Project, Prage, Czech Republic, Febuary 2003 (Brochure)
23. Dmitry Vilensky, "Youth, Pop Culture, MTV and Other Phenomena Everybody Loves", PH2 - New
International Illustrated Edition on Contemporary Art, Russian National Center for Contemporary Art, Kaliningrad, Russia, April 2003 (Article)
24. Davis O. Nejo, Palace of Light, Art and Culture in the Public Space, Cross Cultural Communication, Vienna, Austria, April 2003 (Catalogue)
25. Paula Burnett, EnterText 3.2: Bridges // Drawbridges, An interactive interdisciplinary e-journal for cultural and historical studies and creative work, Brunel University, London, UK, May 2003 (ISSN 1472 3085 Press Release)
26. Zoran Srdi, METAMORPHOSIS, International Festival of Sculptures, University of Ljubljana, Ljubljana, Slovenia, July 2003 (Catalogue)
27. Jan White, The Sublime Metaphor, A travelling exhibition of international artists, Oxford University Museum, United Kingdom, August 2003 (Press Release)
28. Pilar De Burgos; Sara Edström; Jan-Erik Falk; Maria Lundström; Pia Schmaltz; Dan Lestander and Ricky Sandberg, Luleå Winter Biennial , Luleå, Sweden, January 2004 (Catalogue)
29. Nada Beros, ART-e-FACT, Zagreb, Croatia, Febuary 2004 (Press Release)
30. Karel Dudesek, WEB3DART 2004, Kent, UK, March 2004 (Press Release)
31. Lee Yong Tsui, Mutimedia Art Asia Pacific (MAAP) and Southeast Asian Forum, Nanyang Technological University, ISBN 981-05-2187-1, Singapore, October 2004 (CD Catalogue)
32. Jan Braar Christense, BoundLess, Changdong National Art Studio, Seoul, Korea, November 2004 (Press Release)
33. Åsa Lönnqvist, Peter Heinström and Magdalena Holm, The Installation series of Untitled (Wishes, Lies and Dreams >> Heartsick On The Open Sea With Stars…), The Pro Artibus Foundation Gallery, Ekenäs, Finland, 2005 (Press Release)
34. John Emigh, BECOMING UNCOMFORTABLE, Performance Studies international conference #11, List Art Building, Brown University, Rhode Island, U.S.A. April 2005 (Catalogue and Press Release)
35. Sarah Lippek, Night Work, Visual Aids Web Gallery, New York, U.S.A. April 2005 (Press Release)
36. Mohamed Abouelnaga, Mostafa el Razzaz and Maestro. Sherif Mohie el Din, Biennale Bibliotheca
Alexandrina 2005, Imagining the Book II, Arts Center, The Bibliotheca Alexandrina, Alexandrina, Egypt, April 2005 (Catalogue and Press Release)
37. James Wagner, Untitled (All over the place), Visual Aids Web Gallery, New York, U.S.A. May 2005 (Press Release)
38. Valerie C. Doran, Sarawut Chutiwongpeti-Contemporary Asian Artist, Hong Kong Independent Curators Association, Asia Tatler Magazine, Hong Kong, July 2006 (Magazine)
39. Uchida Hiroshi, The Installation series of ?Untitled 2007?, The Japan Foundation, Bangkok, Thailand, February 2007 (Catalogue)
Francisco Calvo Serraller, María Calleja, Francisco Javier de la Plaza Santiago, Juan González-Posada Martínez,
40. BIENAL DE ESCULTURA DE VALLADOLID, Fundación Municipal de Cultura Valladolid, Spain
(Catalogue and Press Release)
41. Gio Aloi, Antennae Manifesto,, New Internet Publication on Art and Nature, United Kingdom, March 2007 (Internet)
42. Andreas Jacobs, Creative Resistance-New Media as Soft Arms Amsterdam , Amsterdam, The Netherlands, July 2007 (Internet, ISSN 1874-9534, Vollume 14 Issue2 summer 2007)
43. Hong-hee Kim, The Installation series of Untitled (Wishes, Lies and Dreams >> Tomorrow is Another Days...), "Art Now 2007î, Gyeonggido Museum of Art, October 2007 (Catalogue)
44. Eunjung Son and Sohee Kim (Curator, Alternative Space LOOP), Somee Kim (Program manager, MIZY Center), PROJECT STANDING BY OOO. season4, XI Gallery, Seoul, Korea, August 2008 (Catalogue and Press Release)
45. Cheong Jong Hyo, Choi A Reum, KIAF Operation Committees and Galleries Associate of Korea, The Installation series of Untitled (Wishes, Lies and Dreams), Korea International Art Fair 2008, Seoul, Korea, September 2008 (Catalogue and Press Release)
46. Anna Kang, The Installation series of Untitled (Wishes, Lies and Dreams), Changdong Public Art Project, National Museum of Contemporary Art, Seoul, Korea, October 2008 (Catalogue and Press Release)
47. Yoon Soo Kim and Jae won JEONG, The Installation series of Untitled (Wishes, Lies and Dreams), Red Carpet, IASK- National Museum of Contemporary Art, Seoul, Korea, October 2008 (Catalogue and Press Release)
48. Stacey Childs, The Be Seen Zine Issue #3, published in association with Disco Underworld, January 2009
49. Derek Woodgate and Jon Lebkowsk, Plutopia 2009, Palmer Events Center, Texas, USA, February 2009 (Press Release)
50. Markus Petz, 4th Pirkanmaa Triennial "TRUTH", Pispala Contemporary Art Centre, Tampere, Finland, September 2009 (Press Release)
51. Martin Masetto, A Visual Decameron, Visual Aids Web Gallery, New York, U.S.A. September 2009 (Press Release)
52. Other worlds, SuperMassiveBlackHole Issue 2, ISSN 2009-2288, United Kingdom , September 2009 (Press Release)
53. Alexandre Figueiredo, Revista de Arte, Issue 11, Ciência e Comunicação, September 2009-January 2010, On-line at
54. Alain Seraphine and commitee of the ADCNI, The Installation series of Untitled (Wishes, Lies and Dreams>> I Want To Believes..!), ADCNI Biennale 2009, Réunion, France, November 2009 (Catalogue)
55. Farah Khelil, Plastik #01- Etre ici et là : la relativité générale et la physique quantique, CERAP – Université Paris 1 Panthéon-Sorbonne, Paris, France, November 2009 (Press Release)
56. Alberto Guevara, InTensions Issue 3, (Fall 2009), (Press Release)
57. Michael Davidge and Jocelyn Purdie, The Installation series of Untitled (Wishes, Lies and Dreams), Modern Fuel Artist-Run Centre and Union Gallery, Ontario, Canada , December 2009 (Press Release)
58. Helga Fox (HF Contemporary Art Gallery), The Installation series of Untitled (Wishes, Lies and Dreams), Art Projects , London Art Fair 2010>> Modern and Contemporary British Art, Business Design Centre, London, United Kingdom, January 2010 (Press Release)
59. Gary Sussman, The Art Students League of New York, The Installation series of Untitled (Wishes, Lies and Dreams), New York, U.S.A., January 2010 (Press Release)
60. Flax Art Studios Artist‘s Group, The Installation series of Untitled (Wishes, Lies and Dreams), Flax Art Studios, Belfast, United Kingdom, February 2010 (Press Release)
61. Tarun Tapas Mukherjee, Rupkatha Journal (Volume 2, Number 1 Special Issue on Visual Arts), Utopia, EISSN 0975 – 2935, February 2010 (Press Release)
62. Majella Munro, Modern Art Asia-Issue 2,, February 2010 (Press Release)
63. Robert Wilson, New York Times, New York Magazine, Wall Street Journal, Fashion Week Daily, WWD EyeScoop,Vanity Fair, New York Social Diary, New York Post, Patrick McMullan, Interview Magazine, Luxist,,, Fox News, Artlog, Theaterlife, US Magazine, Huffington Post, BizBash,, Manhattan Society, Images by Lovis Dengler, The Installation series of Untitled (Wishes, Lies and Dreams), Paradiso: The 17th Annual Watermill Summer Benefit, Watermill Center, New York, U.S.A. July 2010 (Catalogue and Press Release)
64. Sandrine Micosse, Open Space Projekt ZWISCHENRAUM f r KUNST MIGRATION,, Heinrich-Böll-Stiftung, Berlin, Germany,
July 2010 (Press Release)
65. Martina Schettina and Peet Thomsen, Light Art Biennale Austria 2010, ArtP.kunstverein, Perchtoldsdorf, Austria, July 2010 (Press Release)
66. Janaína Melo, Fluxo-Espaço-Ocupação, "The Installation series of Untitled (Wishes, Lies and Dreams >> He Message...)", JACA- Jardim Canadá Centro de Arte e Tecnologia, Belo Horizonte, Brazil, December 2010 (Catalogue) Appendix The original concept/ideas "At the Dawn of the 21st Century: A View-Thought, The Red Window" ("The Critical Time of the World Civilization") expanded into a three-dimensional work, which contains the architectural structure, electronic lighting control, and sound effects thus creating a living spatial–temporary environment.

Born: 1970, Bangkok, Thailand

Primary School Studies Education,
Satee Thai Foundation of Thailand School, Bangkok,
Received a Certificate of Primary School

Secondary School Studies Education,
Nonsee Vittaya School, Bangkok, Received a Certificate of Secondary School

Practice Studies Education, College of Si Phraya Technic, Bangkok,
Received a Certificate in Visual Art

Vocational Studies Education,
College of Fine Art, Bangkok, Received a Certificate of Vocational Studies in Fine Art

High Vocational Studies Education,
College of Fine Art, Bangkok, Department of Graphic Art,
Received a Certificate of High Vocational Studies In Graphic Art

University Studies Education,
Chulalongkorn University, Bangkok, Department of Visual Art, Faculty of Fine and Applied Arts,
Received a Certificate of B.F.A.(Visual Art/Photography)
Practice Studies Education, College of Si Phraya Technics, Bangkok,
Received a Certificate in Electronic: Practice Studies Education,
College of Si Phraya Technics, Bangkok, Received a Certificate in Computer

Practice Workshop, "ZKM - Chulalongkorn University", Institute for Visual Media
Center for Art and Media (Karlsruhe, Germany) and Faculty of Science, Chulalongkorn University
Practice Workshop, "Shape Modeling Base on Singularity , The University of Tokyo
(Japan) and Faculty of Science, Chulalongkorn University
Japan Foundation Fellowship, supported by The Japan Foundation, Collaboration Media

Research Studies, “Contemporary Architecture”, Graduate School of Science and
Engineering,Waseda University, Tokyo, Japan
Research Studies, “Contemporary Art”, Fukuoka Asian Art Museum, Fukuoka, Japan
Practice Workshop, “Sense of Perception”, International Design Center Nagoya, Nagoya
Design Center, Nagoya, Japan
ImaginAsia Program, Smithsonian Institution: The Freer Gallery of Art and The Arthur M.Sackler
Gallery, Washington DC, U.S.A.
Residency, Slo Mo, Media & Visual Arts, The Banff Centre for The Arts, Alberta, Canada
Residency, Experimental Television Centre, Owego, New York State, U.S.A.

Guest Student, Department of Interactive Media, Designskolen Kolding, Kolding, Denmark

Guest Researcher, Central European University, CEU Summer University, “Visual Studies
Today”, Budapest, Hungary
Residency, METAMORPHOSIS, International Festival of Sculptures, SOU-University of
Ljubljana, Ljubljana , Slovenia
Swedish Institute Scholar, supported by The Swedish Institute, Contemporary Art/ Media Arts
Guest Student, Royal University College of Fine Arts, Stockholm, Sweden
Practice Workshop with Rirkrit Tiravanija, Royal University College of Fine Arts,
Stockholm, Sweden

Residency, Beeoff/Splintermind Project, Stockholm, Sweden
Residency, Young European Artist, Emma Ricklund Foundation, Ricklundgården, Saxnäs, Sweden
Workshop, Mobile Outskirts, Trondheim Elektroniske Kunstsenter, Trondheim, Norway
International Symposium with a Workshop in Architecture, Theory and Design In The
Digital Age, International Cultural Centre Jeunesses Musicales Croatia Groznjan, Groznjan,

Workshop, DESIGNING YOUR FUTURE, Berlinale Talent Campus 2005, 55th Berlin
International Film Festival, Haus der Kulturen der Welt, Berlin, Germany
Workshop, Imagining the Book II, Biennale Bibliotheca Alexandrina 2005, Arts Center,
Bibliotheca Alexandrina, supported by Bibliotheca, Alexandrina Alexandria, Egypt
VellaNOarte2005, Tuscany, Italy
Residency, The Pro Artibus Foundation, Ekenäs , Finland

Residency, Saksala ArtRadius Oy, Haukivuori, Finland
Workshop, Locative Media: Rautatieasema returns, Kiasma, Museum of ContemporaryArt,
Helsinki, Finland
Workshop, Moving Stage Lab - Copenhagen Laboratory 2006, Biennial Theatre Festival Nordic
Theatre - Sight 'n Vision, Nordic Theatre Union, Copenhagen, Denmark
Residency, TOU SCENE Contemporary Centre of Art, Stavanger, Norway

Residency, Collaboration Art Network In-Between, Fukuoka, Japan
Residency, Gyeonggido Museum of Modern Art/Danwon Art Museum, Ansan City, Gyeonggi-
Do, Korea
Residency, Rimbun Dahan, Selangor, Malaysia

Residency, ABN AMRO-Malihom, Penang, Malaysia
Residency, Changdong International Artists Studio Program Korea, National Museum of
Contemporary Art, Seoul, Korea
Workshop, PROJECT STANDING BY OOO. season4, organize by Alternative Space LOOP and
MIZY Center, XI Gallery, Seoul, Korea

Residency, ADCNI Biennale 2009, La Réunion, France
Visiting Artist, Modern Fuel Artist-Run Centre and Union Gallery, Ontario, Canada
Residency, The Art Students League of New York, New York, U.S.A

Residency, Flaxart Studios, Belfast, United Kingdom
Residency, Theertha International Artists Collective, Colombo, Sri Lanka
Residency, Watermill Center, New York, U.S.A.
Residency, The Virginia Center for Creative Arts, Virginia, U.S.A.
Residency, Gershwin Hotel, New York, U.S.A.
Residency, The Millay Colony for the Arts, New York, U.S.A.
Residency, The JA.CA – Jardim Canadá Centro de Arte e Tecnologia, Belo Horizonte, Brazil
Residency, The Vermont Studio Center, Vermont, U.S.A.

Residency, The Clay Studio, Philadelphia, U.S.A.
Residency, Pyramid Atlantic Art Center, Maryland, U.S.A.
Residency, Bundanon Trust Art Program, New South Wales, Australia

References will be provided on request.
Experiences & works
Freelance Artist
Artist-Designer, Fantasy Land Company Limited, Bangkok

Artist-Designer, Triplet & August Company Limited, Bangkok
Practice Training, S.P.V. (for Macintosh), Bangkok

Practice Designer, B.S.O. (Bangkok Symphony Orchestra Foundation), Under the Royal Patronage
of his Royal Highness Crown Prince Maha Vajiralongkorn, Bangkok
Practice Training, D.I.R.(Digital Image Reproduction Company Limited), Bangkok

Representative to participant and working with United Nations, ASEAN Photo Exhibition on
occasion"50 years United Nations", United Nations, Bangkok
Assistant Research/Photograph for "Art Galleries in Thailand"
Artist-Designer & Public Relation,Office of the President, Union Bank of Bangkok Public Company
Limited, Bangkok
Assistant Architecture, Peri Power Company Limited, Bangkok

Multimedia Artist-Designer, Cyber Lab, Centers of Academic Resources, Chulalongkorn University,

Multimedia Artist-Designer, The Gem and Jewelry Institute of Thailand, Chulalongkorn University,

Independent Artist/Researcher

Director, KAO Country Director Board (Head office: Kinetic Art Organization, Florida, U.S.A)

The Installation series of “Untitled 2003” (Palace of Light), Art Screen-Art and Culture in the Public Space, AT
Untitled, Rocketart Gallery, AU

The Installation series of Untitled (Wishes, Lies and Dreams), Art Gellery Mellanrummet, SE
Beeoff/Splintermind Project, Untitled (Wishes, Lies and Dreams III); Kiasma Museum of Contemporary Art Helsinki; Museet for Samtidskunst; Museum of Contemporary Art ;
Atelier Nord; Norrbotten County Museum; Gävleborg County Museum; Jönköping County museum; Gotland Museum of Art and Blekinge Museum

The Installation series of Untitled (Wishes, Lies and Dreams) and series of “Untitled”, Art Gallery of Nanyang, SG
The Installation series of Untitled (Wishes, Lies and Dreams), Brown Univ, USA
The Installation series of Untitled (Wishes, Lies and Dreams), Northern Illinois Univ, USA
Untitled (Wishes, Lies and Dreams II), Blue Oyster Gallery, NZ
The Installation series of Untitled (Wishes, Lies and Dreams >> Heartsick On The Open Sea With Stars…), ProArtibus, FI

The Installation series of Untitled (Wishes, Lies and Dreams), 24HR Art - NT Centre for Contemporary Art, AU
The Installation series of Untitled (Wishes, Lies and Dreams >> From Crystal To The Stars…), Mikpoli IT Centre Hall, FI

The Installation series of “Untitled 2007” (Primitive Cool), Japan Foundation Art Gallery, TH
The Installation series of Untitled (Wishes, Lies and Dreams), Tallinna Linnagalerii, EE
The Installation series of Untitled (Wishes, Lies and Dreams), Art Gene Limited, UK
The Installation series of Untitled (Wishes, Lies and Dreams), Artspace Tetra, JP
The Installation series of Untitled (Wishes, Lies and Dreams), Baracca Space, NL

The Installation series of Untitled (Wishes, Lies and Dreams), Union Gallery, CAN

The Installation series of Untitled (Wishes, Lies and Dreams), The Art Students League of New York, U.S.A.
The Installation series of Untitled (Wishes, Lies and Dreams), London Art Fair 2010>> Modern and Contemporary British Art, Business Design
Centre, UK

The Installation series of Untitled (Wishes, Lies and Dreams >> Tomorrow Is Another Day… ), Organhaus Art Space, CN
Series of Untitled, The Davis Lisboa Mini-Museum of Contemporary Art, ES

The installation series of "Untitled1996"( Tomorrow Where Shall We Live?), Chulalongkorn Univ, TH

The installation series of Utopia 1997, Art Center, Chulalongkorn Univ, TH

THE MILLENIUM ART COLLECTION, Stichting 2000 Foundation, NL

Siggraph 2000, Ernest N. Morial Convention Center, USA

CYNETart, Medien kulturzentrum PENTACON, DE
IV Biennal Internacional de Fotografia, Institut Municipal d'Accio Cultural, ES

REACTIONS, Exit Art Gallery, USA
Coop_02, Museum of Contemporary Art/Kalinderu Medialab, RO
Biennal festival X, Museo Elder De La Ciencia Y La Tecnologia, ES
Tehran Biennial, Tehran Museum Of Contemporary Art, IR
Unforgettable, Berliner Kunstprojekt, DE
Next Move, ICA-Institute for Contemporary Art, SG
METAMORPHOSIS, International Festival of Sculptures, SI
V Biennal Internacional de Fotografia, Institut Municipal d'Accio Cultural, ES

Another world is possible-Let's build it, The World Social Forum, IN
Luleå Winter Biennial, SE
Spring Exhibition, Art Gellery Mellanrummet, SE
OUTVIDEO, National Centre for Contemporary Art, RU
Art+Communication Festival, RIXC Centre for New Media in Riga, LV
Art at War, Aldo Castillo Gallery, USA
MAAP (Multimedia Art Asia Pacific), Nanyang Technological Univ, SG

Untitled (Wishes, Lies and Dreams), Holt Gallery, UK
DESIGNING YOUR FUTURE-Berlinale Talent Campus, Haus der Kulturen der Welt, DE
BoundLess, Touring Exhibitions: Stenersenmuseet (Oslo); Bodø Kunstforening (Bodø), Sogn og Fjordane, Kunstmuseum - Eikaasgalleriet (Jølster); Trondarnes, Distriktsmuseum (Harstad); Eidsberg kommune, Kulturkontoret (Eidsberg); Grenselandmuseet (Kirkenes) and Stavanger Kunstforening (Stavanger)
The Capture of the Temporal: New Works in Photography and Video, Turchin Center for the Visual Arts, USA
Untitled, Paper Politics (West), Phinney Center Gallery, USA
Biennale Bibliotheca Alexandrina, Alexandrina Arts Center, EG
HK Artist"s Biennale (Moonstruck), Club 64, HK
Salón de Arte Digital, Museo de Arte Contemporáneo del ZULIA/MACZU, VE
International Prize for Performance, Galleria Civica di Arte Contemporanea in collaboration with drodesera>centrale fies, IT
Capturing Utopia, Fournos Center for Digital Culture, GR
International Kaunas Art Biennial, M. Zilinskas Art Gallery, LT

Global Groove, Art Gallery of Knoxville, USA
5 Continent, Saksala ArtRadius Center, FI
Pikseliähky 2006, Kiasma Museum of Contemporary Art, FI
Interfacce::fotoesordio, Galleria Nazionale d'Arte Moderna e Contemporanea, IT
Tou Night Performance, TOU SCENE Contemporary Centre of Art, NO
The Installation series of Untitled (Wishes, Lies and Dreams), L' Association Fais Des Bulle, FR
Displaced, Independent Museum of Contemporary Art, CY
Gene Culture (coincide with Liverpool Biennial), Slaughter House Gallery, UK
Biennale 3000 São Paulo, Mac USP, BR

BIENAL DE ESCULTURA DE VALLADOLID, Fundación Municipal de Cultura Valladolid, ES
DESERT GENERATION, Touring Exhibitions: Jerusalem Artists' House & Kibbutz Art Gallery (IL) and Meneer de Wit Gallery (NL)
CAe2007, Banff Center for the Arts, CAN
The Most Curatorial Biennial of the Universe, Apexart, USA
Art Now 2007, Gyeonggido Museum of Modern Art, KR

Changwon Asian Art Festival, Songnam Art Hall, KR
Point, Alternative Space LOOP, KR
KIAF2008, Korea International Art Fair 2008, Coex, KR
Chang dong Public Art Project, IASK- National Museum of Contemporary Art KR
Red Carpet, IASK- National Museum of Contemporary Art, KR
Continuing Power of Asia, Hankuk Art Museum, KR
World Open Art Festival, Seoul Museum of Art, KR

The Critical Time of The World Civilization, ART OF EMERGENCY, Artneuland Berlin Space, DE
Techno Photography, series of “Untitled” by HF Contemporary Art, Lauderdale House, Upper Gallery, UK
Between the Eyes: a One Night Stand with GILT ,GILT gallery for contemporary art, NZ
MICHAEL JACKSON Tribute by HF Contemporary Art, Draywalk Gallery, UK
4th Pirkanmaa Triennial "TRUTH", Pispala Contemporary Art Centre, FI
ASIAN ART, HF Contemporary Art, UK
Gong Ju International Art Festival 2009, Limlip Art Museum, KR
VI Bienal Internacional de Arte SIART, BO
ADCNI Biennale 2009, FR

The Last Book (El último libro), Zentralbibliothek Zürich, CH
The Fantastic Garden, Changwon Asian Art Festival, Songsan Art Hall,KR
The Installation series of Untitled (Wishes, Lies and Dreams), Red Dot Gallery, SK
One Night Only SCREENING, Greyfriars Art Space, UK
FASHION FUSION' by HF Contemporary Art, Truman's Brewery, UK
Open Space Projekt ZWISCHENRAUM für KUNST & MIGRATION, Heinrich-Böll-Stiftung, DE
Paradiso: The 17th Annual Watermill Summer Benefit, Watermill Center, USA
HF Contemporary Art - 'SUMMER ART & FASHION SHOW', Memorial Hall, UK
Light Art Biennale Austria 2010, ArtP.kunstverein, AT
HF Contemporary Art, Grand Opening New Gallery In Berlin, HF Contemporary Art Gallery, DE
Reflective Light Exhibition, Touring Exhibitions: 'Gallery Leegang' in Changwon city, 'Gallery AA' in Geoje city. 'Gallery Yoon' in Andong city , KR
Independents Liverpool Biennial 2010, Gallery4all, UK
CURATE NYC, Rush Arts Gallery in Chelsea, the Essex Street Market on the Lower East Side, La Marqueta Open Plaza in East Harlem and the Richmond County Bank Ballpark at St. George on Staten Island, USA
JACA-Jardim Canadá Centro de Arte e Tecnologia, BR
Open Studio, The Vermont Studio Center, USA
20-20interarts, danse+arts – Festival Interarts,CAN
Spectacle Slideshow Potluck, Spectacle Theatre, USA

The Last Book (El último libro), Aguilar Branch of the New York Public Library, USA
An Exchange with Sol LeWitt, A two-part exhibition in collaboration with MASS MoCA, Cabinet (New York) and Massachusetts Museum of Contemporary Art (Massachusetts), USA
Open Studio, The Vermont Studio Center, USA
15th Luleå Art Biennial, SE
The Contemporary Asian Art exhibition, HF Contemporary Art Gallery, DE
Innovation/Leap/Dream- The 12th China Changchun (High-tech Development Zone) International Sculpture Symposium, CN

MAY 1 - AUGUST 31, 2011

Karen Aune,
Neoptiks, 2010, digital print and oil on canvas, 5,9 x 5,9 x 3,9 in

In spite of the fact that technology has turned into an inevitable “way” trough which we think this one also it is in the map" of a time for coming […] to the form that will adopt this culture in this future time. " (1)

The work of Karen Aune communicates strangeness, sequences that for all it’s uprooting they create a short circuit opposite to any effort to try to understand them. This work is constructed from visual patrons extracted as autonomous organs that across the software it repeats, climbs and moves from a work to another. Neoptiks makes neither a sense of beginning nor end; its elements flow paradoxically in the space though the suggestion of a narrative of vague familiar forms persists in this work.

The manipulation of the program - intermediate act between the original image and the prototype bases of the painting - has direct consequences in its final appearance; the infinite scale in which the images can reproduce from the computer seems to dilute from appearances, volume, space, and perspective over the pictorial surface. The colors sometimes are flat and others contaminated, saturated and vibrant. The digital image does not stop existing implicitly inside the painting and therefore it works as device of a "spetacularized" recreation as a simulacrum of the reality to come. (…)

Neoptiks, arranges as signs of the reality a system of abnormalities that are reminiscent of El Bosco; exist in this work a certain voyeurism that is the continuation of the work with structures that depart from the organic thing as the body, as basic condition of the material thing across the topologic exhibition of the tissue as the original element and mutant, as redemptions of Adam and Eve in which the subject seems visceral. This way, the visual acts of our current society produces acts of seeing and to devote seeing itself, of looking and being seen across which the subject is produced. This performative visual act is articulated across the experience of the subject by the field of the vision, in such a way that the own subject of vision comes to be controlled as such by the decisive power of this field. (2)
(1) José Luis Brea. El tercer Umbral: estatuto de las prácticas artísticas en la era del capitalismo cultural.
(2) Idem 1

Karen Aune was Born in Brasil in 1971, lives and work in Bogotá, Colombia since 2006, currently working as an assistant professor at Universidad de los Andes, Bogotá.

* The project Neoptiks was the recipient of the call for funding research projects and creation of the Department of Design 2009, Universidad de los Andes, Bogotá

* Foto: William Aparicio

2005 Masters of Advanced Studies (MAS / DEA) Universidad de Barcelona, Spain.

2010 - “Neoptiks Beta”- MAMBO - Bogota Modern Art Museum, Colombia
2010 - “Neoptiks”- Casa tres Patios, Medellín, Colombia
2010 - “Neoptiks” - Aliance Française of Bucaramanga, Colombia
2009 – “Neoptiks Alfa” - LA Gallery, Bogota, Colombia
2006 - “Neodynamics: Stem Cells” - “Brasil Arte Actual” - Valenzuela y Klenner Gallery Bogotá, Colombia
2006 - “Fragmentos de una Metástase Amorosa: Flúo” Galería h10, Valparaíso, Chile
2002 - “Neophytos 5:57pm * Estratégias para contemplar” - Sérgio Porto Cultural Space, Rio de Janeiro Brasil
2001 - “Psicossexualidade” - Vicente do Rego Monteiro Cultural Center, Recife, Brasil
2001 - “Monólogo a Dois” Paschoal Carlos Magno Cultural Center, Niterói Brasil
2001 - “Psicossexualidade” Poste Gallery, Niteroi Brasil
2000 - “Psychosexuality” - Alternativa Once Gallery, Monterrey México
1997 - “Y la vida continúa...” - Nuevo León House of Culture, Monterrey México
1996 - “Vida empieza con vida” - Eleanor Jackson Gallery, Montemorelos México

2009 - “ARTBO” –International Art Fair of Bogotá - LA Gallery- Corferias, Bogotá, Colombia
2008 - “ARTBO” – International Art Fair of Bogotá - LA Gallery- Corferias, Bogotá, Colombia
2008 - “Diario Natural” - MAMB Bucaramanga Modern Art Museum, Colombia
2008 - “Seres Híbridos elniuton en 241* palabras #1” - Matik Matik, Bogotá, Colombia
2008 - “Estranha; Coletiva a arte e o outro” - Durex Arte Contemporánea, Rio de Janeiro, Brasil
2008 - “XV BBVA Art Salon” – Barranquilla Modern Art Museum, Barranquilla, Colombia
2008 - ““XV BBVA Art Salon” - La Tertulia Modern Art Museum, Cali, Colombia
2007 - “XV BBVA Art Salon” - Museum of Antioquia Casa de Encuentro, Medellin, Colombia
2007 - ““XV BBVA Art Salon” - Casa de Moneda del Banco de la República, Bogotá, Colombia
2007 - “Technicolor: Pintura Expandida” - LA Gallery, Bogota, Colombia
2006 - “Paranaturais” - Paschoal Carlos Magno Cultural Center, Niteroi Brasil
2006 - “Onde” – LGC Gallery, Rio de Janeiro Brasil
2006 - “Dona Maria I Louca ou Piedosa?” Candido Mendes Cultural Center -,Rio de Janeiro, Brasil
2005 -“III Bienal de Realismo y Figuración Contemporánea” – Clave Gallery, Murcia Spain
2003 - “Canvis, Continuïtat i Canvis:Tempo Multimediatic"- Punt Multimedia Casa del Mig, Barcelona Spain
2002 - “Panorâmica”- Candido Mendes Cultural Center Rio de Janeiro Brasil
2002 - “Niteroi Arte Hoje”- Centro Cultural Candido Mendes Cultural Center Rio de Janeiro, Brasil
2002 - “Niteroi Arte Hoje”- Niteroi Contemporary Art Museum, Niteroi, Brasil
2002 - “Eterno em torno”- Candido Mendes Cultural Center, Rio de Janeiro, Brasil
2001 - 33o Contemporary Art Salon of Piracicaba - Miguel Dutra House of Art, Piracicaba, Brasil
2001 - “Cómo es que los autos no vuelan aún?” – Art Center of Monterrey, México
2001 - “Gente Látex”- Conselheiro Paschoal Cittadino Cultural Center, Niteroi Brasil
2001 - “Ajúa Proud”- Candido Mendes Cultural Center, Rio de Janeiro Brasil
2000 - 57o Contemporary Art Salon of Paraná – Curitiba Contemporary Art Museum,Curitiba, Brasil
2000 - 32O Contemporary Art Salon of Piracicaba - Miguel Dutra House of Art, Piracicaba Brasil
2000 - 26o National Art Salon of Belo Horizonte – Pampulha Museum, Belo Horizonte Brasil
2000 - Salao Pernambucano de Artes Plásticas Edición 2000 - Torre Malakoff, Pernambuco Brasil
2000 - “Colectiva”- Arcaute Gallery, Monterrey México
2000 - “Ambigú” - Ego Lounge, Monterrey México
1999 - “Instalaciones e Intervenciones In Situ” - Casa Blanca de Montemorelos, Montemorelos México
1999 - XIX Reseña de la Plástica Nuevoleonesa –Nuevo León House of Culture, Monterrey México
1998 - XVIII Reseña de la plástica Nuevoleonesa - Nuevo León Pinacoteque , Monterrey México
1998 - “El Retrato como pretexto” - BF15 Gallery, Monterrey México

2000 - Acquisition Prize - 57o Contemporary Art Salon of Paraná – Curitiba Contemporary Art Museum Brasil
2000 – Acquisition Prize - 26o Contemporary Art Salon of Belo Horizonte – Pampulha Museum - Belo Horizonte Brasil
1989 - Jury Distinction - Boston Globe Art Award, Massachussets USA

Collection of Curitiba Contemporary Art Museum, Curitiba Brasil
Collection of Pampulha Art Museum, Belo Horizonte Brasil
Candido Mendes University Collection , Rio de Janeiro, Brasil

JANUARY 1 - APRIL 30, 2011

HUNTER COLE, Living Drawings, 2010, installation (movie of drawings created with bioluminescent bacteria, two painted plastic toys art, size 2,5 x 2 x 1,5 in and one plastic cube size and label, size 1 x 1 x 1 in


Hunter Cole, formerly Hunter O’Reilly, is an internationally shown artist and an experienced geneticist. She reinterprets science as art through the creation of living artworks, abstractions, digital art and installations confronting issues related to biotechnology in our culture. Cole holds a Ph.D. and Master’s degree in Genetics from the University of Wisconsin–Madison, and a Bachelor of Science from the University of California-Berkeley.

Hunter Cole is frequently listed with other artists who create what is often referred to as bioart. Cole has taught both biology and art at Loyola University Chicago, the University of Wisconsin-Milwaukee and the University of Wisconsin-Parkside.

Hunter Cole creates Living Drawings with bioluminescent bacteria. These Living Drawings depict the cycle of life and death calling attention to our own mortality. On Petri dishes Cole creates controlled line drawings using bioluminescent bacteria. The bacteria grow, first appearing with bright light, then dim and gradually die off as available nutrients are depleted. Bacteria are photographed using a time-lapse technique over a two-week period. Bacteria become collaborators in the art as it grows and dies. Exhibitions have shown combinations of living bacterial drawings growing on Petri dishes, photographs, and a movie of the time-lapse photographs with music based on protein sequence found in the bacteria. Cole's Living Drawings were a part several exhibitions such as It’s Alive! A Laboratory of Biotech Art presented at Monserrat College of Art in Beverly, Massachusetts, Creative Adaptation in the Visual Arts presented at Concordia University Kreft Center for the Arts in Ann Arbor, MI, Glow presented at the North Carolina Museum of Natural Sciences in Raleigh, NC, The Summer of Abstractions presented at Syracuse Technology Garden, Syracuse, NY, and Living Drawings + Photographs by the Light of Bioluminescent Bacteria presented at Greyfriars Art Space in King's Lynn, Norfolk, United Kingdom. Cole's Living Drawings have also been exhibited at the Loyola University Museum of Art in Chicago, and the Honors College at Oakland University in Rochester, Michigan. Nature Genetics magazine featured Cole’s Living Drawings on its cover.

Hunter Cole created music based on protein sequence found in bioluminescent bacteria accepted to SoundLAB VII – soundCELEBRATION - 10 years - [NewMediaArtProjectNetwork]:||cologne.

Hunter Cole joined the Biology Department faculty at Loyola University Chicago in the Fall 2004. Notably in 2001, Cole created the course, Biology through Art, first offered at University of Wisconsin-Parkside. Students have opportunities to create innovative artworks in a biology laboratory. Currently she teaches this course at Loyola University Chicago. Biology through Art helps students from all disciplines to think outside the box. Biology through Art focuses on several areas in the biological sciences from molecular biology to human anatomy. Students view microorganisms, use DNA as an artistic medium, create music based on DNA and protein sequence, and see anatomy as art. Contemporary artists that use biological concepts and biological materials in their art are also discussed. Beginning Fall 2008 at Loyola University Chicago, Hunter Cole taught a new course BioArt: Exploring Living Organisms through Art, which she created. With her extensive laboratory experience, Hunter Cole brings a unique and challenging perspective to the world of biotechnology via art.

Cole has received grants from the Chicago Community Arts Assistance Program, the Puffin Foundation and the University of Michigan Life Sciences, Values and Society Program to create art for exhibitions reinterpreting science as art looking at positive aspects of biotechnology. The National Institutes of Health commissioned her to create paintings based on cancer genomics and cancer proteomics.

Cole's exhibition Genetic Revelations was presented at the University of Alabama School of Public Health in Birmingham. The exhibition Radioactive Biohazard showed the Porter Butts Gallery at the University of Wisconsin-Madison, at the Warren Robbins Gallery at the University of Michigan, and at the Walker’s Point Center for the Arts (Milwaukee). In Radioactive Biohazard, Cole confronts issues related to human cloning, stem cell research, and the human genome project, among others. Hunter Cole’s art has been shown internationally including England, Italy, Japan, the Czech Republic, New York, San Francisco, and Chicago.

Additionally, Cole’s art has been featured on the covers of several scientific journals including Nature Biotechnology, Nature Genetics, Genetics in Medicine, Nature Reviews Genetics, Trends in Ecology and Evolution, Developmental Dynamics, The EMBO Journal, and Neural Notes.

Hunter Cole co-authored a paper on “Art and Genetics” with Joe Davis, Dana Boyd and Marek Wieczorek published in the Encyclopedia of Life Sciences (ELS). Cole has been the subject of numerous newspaper and magazine articles. Publications that have discussed Cole's work in art and science, among others, include Science, The Scientist, Chicago Tribune, Detroit Free Press, Muy Interesante (Spain), plus Le Monde and Beaux Arts magazines (France). Additionally, Hunter Cole has presented seminars on bioart throughout the United States such as at the School of the Art Institute of Chicago, the American Museum of Natural History (New York), the Massachusetts Institute of Technology (MIT) and at the Dialogue Between Science and Art Workshop in Hluboka, Czech Republic.


2000 - Ph.D. in Genetics, University of Wisconsin-Madison
1996 - M.S. in Genetics, University of Wisconsin-Madison
1993 - B.S. with Honors in Plant Biology, University of California - Berkeley
1989 - Lowell High School - San Francisco, CA

1998, 2001-2002 - Study with Master Printer Andrew Balkin, AGB Graphics, Madison, WI


2006 - Chicago Community Arts Assistance Program Grant
2004 - World Technology Award Nominee in the Arts
2002 - Penny W. Stamps Distinguished Artist
2002 - University of Michigan Life Sciences, Values and Society Program Grant
2001 - University of Wisconsin-Milwaukee Cultures and Communities Grant
2000 - Puffin Foundation Grant


2009 - EBOLA is beautiful! Flag, Temporary Allegiance Project, Gallery 400, Chicago, IL

2006 - Living Drawings, Loyola University Museum of Art, Chicago, IL

2005 - Living Drawings, Honors College at Oakland University, Rochester, MI

2004 - Genetic Revelation: Reinterpreting Science as Art
University of Alabama School of Public Health, Birmingham, AL

2003 - Radioactive Biohazard: Reinterpreting Biotechnology as Art
Hunter O’Reilly and collaboration with Electric Eye Neon
Porter Butts Gallery, University of Wisconsin-Madison, Madison, WI

2002 - Radioactive Biohazard: Reinterpreting Biotechnology as Art
Hunter O’Reilly and collaboration with Electric Eye Neon
Warren Robbins Gallery, University of Michigan, Ann Arbor, MI

2001 - Radioactive Biohazard: Reinterpreting Biotechnology as Art
Hunter O’Reilly and collaboration with Electric Eye Neon
Walker's Point Center for the Arts, Milwaukee, WI

1999 - Abstract Faces Series, Assisi Collective Gallery, Madison, WI

1998 - Abstract Faces Series, Sunroom Gallery, Madison, WI


2010 - Creative Adaptation in the Visual Arts, Concordia University Kreft Center for the Arts, Ann Arbor, MI
Glow, North Carolina Museum of Natural Sciences, Raleigh, NC
SoundLAB VII – soundCELEBRATION - 10 years
Living Drawings + Photographs by the Light of Bioluminescent Bacteria, Greyfriars Art Space, King's Lynn, Norfolk, United Kingdom
Chicago Art Open, River East Art Center, Chicago, IL

2009 - CWCA Members’ Exhibition, St. Paul's Cultural Center, Chicago, IL

2008 - CWCA Members’ Exhibition, Peter Jones Gallery, Chicago, IL
Chicago Art Open, Merchandise Mart, Chicago, IL

2007 - It’s Alive! A Laboratory of BioTech Art, Montserrat College of Art, Beverly, MA
The Summer of Abstractions, Syracuse Technology Garden, Syracuse, NY
Chicago Art Open, Chicago, IL

2006 - Chicago Art Open, Zhou B. Art Center, Chicago, IL

2005 - Chicago Art Open, Third Floor Gallery, Chicago, IL
Art Intersect Science: A Benefit Event Celebrating Art and Science, Lucid Gallery,
San Francisco, CA
Endometriosis Association 25th Anniversary Conference Auction, Four Points Sheraton,
Milwaukee, WI

2004 - DNA: Art and Science - the Double Helix, University of South Florida Contemporary Art Museum, Tampa, FL
BioArt Exhibit, 7th National Undergraduate Bioethics Conference, University of Michigan,
Ann Arbor, MI

2003 - Essence, State University of West Georgia, Carrollton, GA
Essence, Georgia Institute of Technology, Atlanta, GA
Members' Show, Walker's Point Center for the Arts, Milwaukee, WI
2002 - Dialogue Between Art and Science, Metropol, Ceske Budejovice, Czech Republic
Genome, City Without Walls, Newark, NJ
Earth, Air, Fire and Water, University of Wisconsin-Whitewater, Whitewater, WI
Earth, Air, Fire and Water, Walker's Point Center for the Arts, Milwaukee, WI
Members' Show, Walker's Point Center for the Arts, Milwaukee, WI

2001 - Art and Science, XI Biennial International Art Exhibition Vila Nova de Cerveira, Portugal
Life Drawing, Union Gallery, University of Wisconsin-Milwaukee, Milwaukee, WI
Members' Show, Walker's Point Center for the Arts, Milwaukee, WI

2000 - Nonsolo Genetica, Collegio Cairoli, Università degli studi Pavia, Pavia, Italy
Seeds, Shomeido Gallery, Tokyo, Japan
Artexpo, New York, NY
Members' Show, Walker's Point Center for the Arts, Milwaukee, WI

1999 - Zero and One, Keio University, Shonan Fujisawa Campus, Tokyo, Japan
The Art of Women, Promega Biotechnology Company, Madison, WI

1998 - Off the Wall, South Bend Regional Museum of Art, South Bend, IN
Country Without Borders, 450 Broadway Gallery and Abraham Lubelski Gallery,
New York, NY
Renaissance 2001 Project, Tubal Cain Gallery, Contemporary Arts Foundation,
Harrogate, England
Post-Postcard III, Four Walls Artspace, San Francisco, CA
Binary Code, Trans-Hudson Gallery, New York, NY
Outrageous Acts and Little Intimacies, Common Wealth Gallery, Madison, WI

1997 - Change Becomes Us, Common Wealth Gallery, Madison, WI


Artists at Work Forum: Studio as Lab, Chicago Cultural Center, Chicago, IL, June 17, 2010.
School of the Art Institute of Chicago, September 18, 2008.
Panel Discussion, Montserrat College of Art, Montserrat Gallery, Beverly, MA, March 16, 2007.
Artreach Lecture Series, Montserrat College of Art, Montserrat Gallery, Beverly, MA, March 16, 2007.
Aglow in the Dark: Art/Science and Bioluminescene, American Museum of Natural History, New York, NY, January 25, 2007.
Tri-Beta, Biological Honor Society Lambda Omega Chapter, Loyola University Chicago, Chicago, IL, January 22, 2007.
Loyola University Museum of Art, Chicago, IL, April 2, 2006.
Chicago Area Undergraduate Research Symposium Keynote Address, Chicago, IL,
April 1, 2006.
Chicago-Kent College of Law, Chicago, IL, March 7, 2006.
Dialogue Between Science and Art Workshop, Hluboka, Czech Republic, July 2005.
Honors College at Oakland University, Rochester, MI, March 21, 2005.
University of Alabama School of Public Health, Birmingham, AL, February 20, 2004.
Dialogue Between Science and Art Workshop, Hluboka, Czech Republic, July 16, 2003.
University of Wisconsin-Milwaukee, Milwaukee, WI, January 31, 2003.
University of Michigan Genetics Department, Ann Arbor, MI, September 23, 2002.
University of Michigan School of Art and Design, Ann Arbor, MI, September 20, 2002.
Milwaukee Institute of Art and Design (MIAD), Milwaukee, WI, April 24, 2002.
Massachusetts Institute of Technology (MIT), Cambridge, MA, March 13, 2002.
University of Wisconsin-Parkside, Kenosha, WI, February 15, 2002.
Walker's Point Center for the Arts, Milwaukee, WI, May 5, 2001.


National Institutes of Health (NIH)
Promega Biotechnology Company, Madison, WI
University of Wisconsin - Milwaukee
Private collections in the United Kingdom and throughout the United States including California, Illinois, Iowa, Louisiana, Maryland, New Jersey, Ohio, Utah, Virginia , and Wisconsin


Biological Domains, Loyola University Chicago, 2008-2011.
Frontiers in Science Seminar Posters, Loyola University Chicago, 2005, 2007-2010.
Cancer Genomics painting, National Institutes of Health (NIH), 2006.
Cancer Proteomics painting, National Institutes of Health (NIH), 2006.
Cover art, Nature Genetics, April 2004.
Cover art, Trends in Ecology and Evolution, April 2001.


Nature Biotechnology, July 2005
Nature Genetics, April 2004
Phoebe: A Journal of Literature and Art, Spring 2003 (back cover)
Genetics in Medicine, September/October 2002
Nature Reviews Genetics, September 2001
Nature Reviews Genetics, August 2001
Trends in Ecology and Evolution, June 2001
Nature Reviews Genetics, January 2001
Developmental Dynamics, September 2000
Genetics in Medicine, November/December 1999
The EMBO Journal, December 15, 1999
Neural Notes, Winter 1999
The EMBO Journal, November 2, 1998
The EMBO Journal, August 3, 1998
Feminist Voices, June 1998
The Dialogue: A Literary Journal, Spring 1991


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Scott, Katie, “Masterworks in Petri dishes,” New Scientist (, December 11, 2009 (United Kingdom).

“Living Art,” BIO Show Daily, May 19, 2009.

“The Artistic Perspective of Biotech,” VISION Magazine, April 2009 (China).

Dodwell, Lucy, “Gallery: Painting the life within,” New Scientist, November 8, 2008 (United Kingdom).

Dodwell, Lucy, “Gallery: When genetics meets art,”, November 3, 2008 (United Kingdom).

Blonska, Anna, “Biology painted,”, October 11, 2008 (Poland).

Alvarez, Esteban, "An Esthetical View Over Viral Universe,", August 7, 2008 (Bogota, Columbia).

Cook, Greg, “Culture war games,” The Boston Phoenix, March 30-April 5, 2007.

Johnson, Ken, “Art from the science lab: It’s weird, but to what effect?” The Boston Globe, March 14, 2007.

Weir, Kirsten, “Biotechnology on display: A gallery-turned-laboratory fuses art and science, ”", March 9, 2007.

“It’s Alive, and It’s Kind of Disturbing,” medGadget, February 20, 2007.

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“It’s Alive! A Laboratory of Biotech Art,” Winter Street Review, February 17, 2007.

Schoonmaker, Rebecca, “Montserrat comes ‘Alive’ with a new show melding science and art,” The Eagle-Tribune, February 16, 2007.

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Schoonmaker, Rebecca, “Montserrat comes ‘Alive’ with a new show melding science and art,” The Salem News, February 16, 2007.

Hopkins, Randi, “’It’s Alive!’ at Montserrat,” The Phoenix, February 6, 2007
Artner, Alan G., “Art Reviews: Drawings Seduce with Illusion of Spontaneity,” Chicago Tribune, April 7, 2006.

“Science and Art at the Loyola University Museum of Art,” Art Knowledge News (, March 2006.

Hax, Andres, “Arte: en los abismos de la genetica,” Clarin, September 11, 2005 (Argentina).

Stannard, Jennifer, “O'Reilly Art Exhibit Fuses Art and Science,” Kaleidoscope, February 17, 2004.

“Talk: Show Examines Fusion of Art, Science,” UAB Reporter, February 9, 2004.

Guldan, Dale, “Seeing the Light in Science and Art,” Milwaukee Journal Sentinel, January 16, 2004.

Cole, Kevin, “Art and Science 101; Deconstructing Hunter: Will the Real Bionic Woman Please Stand Up?” dialogue: the art, architecture, and design journal of the Heartland, July/August 2003.

Sacristán, Alejandro, “Genes con arte,” Muy Interesante, March 2003 (Spain).

Martini, Rocco, “Beau comme un Virus,” Max, January 2003 (France).

Lynch, Kevin, “The Art of Science,” The Capital Times, January 24, 2003.

Kidd, Jennifer, “DNA and Diseases Infect Canvases: Science and art collide in O'Reilly exhibit,” The Daily Cardinal, January 24-26, 2003.

Webb, Molly, “Fusing Art, Science and Technology,” The Badger Herald, January 22, 2003.

“Désirs de Clonage,” Le Monde, December 28, 2002. (France)

Lavrador, Judicaël, “Bio Art: La Gènes Génération,” Beaux Arts magazine, November 2002. (France)

“The Art of Biotechnology,” dialogue Art Magazine, November/December 2002.

Cohen, Hal, "Bioscience Moves into Galleries as Bioart," The Scientist, November 11, 2002.

Cohen, Hal, “Life posing as art,” The Scientist, September 30, 2002.

Cantu, John Carlos, “Joining art, science: Geneticist's work, on display at Robbins Gallery, explores ethics,” Ann Arbor News, September 14, 2002.

Provenzano, Frank, “DNArtist: The lab inspires geneticist's artwork, on exhibit at U-M,” Detroit Free Press, September 4, 2002.

Provenzano, Frank, “Biotechnology and ethics,” Detroit Free Press, September 4, 2002.

Newvine, Colleen, “Geneticist brings art exhibit about ethical questions of science to U-M,” University Record, September 3, 2002.

Norris, Kyle, “Splicing Art and Science,” Current Magazine, September 2002.

Reinert, Birgit, “Abstractions on Biotechnology” by Hunter O’Reilly," Genome News Network (, August 30, 2002.

Philipkoski, Kristen, “Behold: ‘Ebola Is Beautiful’,” Wired News (, August 19, 2002.

Reinert, Birgit, “Reinterpreting Biotechnology: ‘Digital Art’ by Hunter O’Reilly,” Genome News Network (, August 16, 2002.

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Holden, Constance, “Yes, This Is Art,” Science, July 26, 2002.

Bill Robbins, “Art and Science,”Kenosha News, March 6, 2002.

Morales, Geary, “Can Art and Science Coexist, or Is the Partnership an Oxymoron?
Dr. Hunter O'Reilly, Geneticist, Artist Takes on Conventional Wisdom!” Milwaukee Post,
May 26, 2001.

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as Paintings,” Marquette Tribune, April 25, 2001.

Frank, Nicholas, “Radioactive Biohazard at WPCA,” The Orbit, April 2001.

“Radioactive Biohazard: Dr. Hunter O'Reilly, Ph.D. and Electric Eye Neon,” Arts News, April 20, 2001.

Guequierre, Nathan, “Critics Choice for Visual Art,” Shepherd Express,
April 19 - April 25, 2001.

Mueller, Jon, and OMC Staff Writers, “O'Reilly Reinterprets Science as Art,”, April 16, 2001.

Blue, J. Michael, “Hunter O'Reilly: Artist and Geneticist,” Arts Indiana Magazine, November/December 1999.

Waters, Ann, “A Walk on the Female Side,” The Fitchburg Star, April 22, 1999.

Penn, Michael, “The Many Hats of Hunter,” On Wisconsin, Spring 1999.

Richmond, Kaya, “Local Artist Mixes Science and Art to Yield Paintings,”
The Badger Herald, February 8, 1999.

Aehl, John, “Art on the Line,” Wisconsin State Journal, November 22, 1998.

Quate, Rebecca , “Art's in the genes?” Madison Magazine, November 1998.

Hanefeld, Dana, “An Uncommon Perspective,” South Bend Times, September 20, 1998.

Dylag, Sarah, “Artist and Geneticist? For University of Wisconsin Ph.D. Prospect
Hunter O'Reilly, It's All in a Day's Work,” The Observer, September 2, 1998.

Templer, Kelly E., “Geneticist Practices the Science of Art,” The Daily Cardinal,
March 26, 1998.

Esikoff, Alexei , “Artist and Geneticist Brings Work to UW,” The Badger Herald,
March 26, 1998.


Artists at Work Forum: Studio as Lab, Chicago Access Network Television (CAN TV), Channel 21, August 15, 2010, Channel 19, August 17, 2010, and Channel 21, August 24, 2010
Avila Fine Art Lovers, Chicago Access Network Television (CAN TV), Channel 19,
March 10 and March 12, 2006
In Wisconsin, Wisconsin Public Television, January 8, 2004
E! Entertainment Television, May 8, 2000
Open Studio, Indiana Public Television, January 9, 2000
Evening News, WMTV Channel 15 (NBC, Madison, WI), April 13, 1999
Noon News, WISC-TV Channel 3 (CBS, Madison, WI), March 26, 1999
WeekEnd, Wisconsin Public Television, November 13, 1998


The Sunday Show, ABC Radio Victoria (Melbourne, Australia), July 6, 2003
Reitman and Mueller Morning Show, 94.5 WKTI (Milwaukee, WI), May 8, 2000


Birmingham Weekly, February 19-February 26, 2004
Phoebe: A Journal of Literature and Art, Spring 2003
Oxford Brookes University Brochure, UK, 2001
Expressions Journal, September 2001 - February 2002
Lynx Eye: A ScribbleFest Literary Group Publication,
Fall 2001, Spring 2001, Winter 2001, Fall 2000 and Summer 2000
Mediphors: A Literary Journal of the Health Professions, 2000
Bathtub Gin: A Biannual Literary/Art Magazine, Spring 2000
Nerve Cowboy, Spring 2000 and Fall 2000
LitRag: A Journal of Poetry, Fiction and Art, Winter 2000
Feminist Voices, June, July-August, September, October, November/December 1998
The South Bend Tribune, September 17, 1998
Wisconsin State Journal Rhythm: Art and Entertainment, March 12, 1998
The Dialogue: A Literary Journal, Spring 1992 and Fall 1991

PUBLICATIONS BY HUNTER COLE (formerly Hunter O’Reilly)

Davis, J., Boyd, D., O’Reilly, H. & Wieczorek, M. Art and Genomics: Phenotype and Genotype in Genetic Art. Encyclopedia of Life Sciences (ELS), 2006.

O'Reilly, Hunter, “What happens when art and science collide?” Ranger News, February 14, 2002.

O'Reilly, Hunter, “CWWCA Provides Exceptional Opportunities for Women Artists: Feminist Art on Exhibit at the Common Wealth Gallery,” Feminist Voices: A Madison Area News Journal, October 1998.

O'Reilly, Hunter, “Katherine Steichen Rosing: Journey to Abstraction, Art Exhibition in Madison,” Feminist Voices: A Madison Area News Journal, September 1998.

O'Reilly, Hunter, “Karen Foget: A Look at Ordinary Things with Extraordinary Vision,” Feminist Voices: A Madison Area News Journal, September 1998.


The McArdle Laboratory for Cancer Research, September 1993 - December 2000
The U.S.D.A. Plant Gene Expression Center, September 1991 - August 1993


1998 - Molecular Biology of Small DNA Tumor Viruses Meeting, University of Wisconsin-
Madison, Madison, WI
1997 - The Imperial Cancer Research Fund Tumour Virus Meeting, Churchill College,
Cambridge, England


Tablilla C2·0305, 2008, terracota, 6,2 x 4 x 0,8 in,
Tablilla C2·0313, 2008, terracota, 5,7 x 3,8 x 0,5 in,
Tablilla C2·0302, 2008, terracota, 5,8 x 3,9 x 0,7 in
(from the work "El Tesoro de Remihllans" / Arqueología de la Confusión)

Paulo Herkenhoff * Texto para el libro/catálogo +Acreció (Casal Solleric_Palma de Mallorca, enero de 2000)
Para Antoni Socias el arte es una acto del taller mental. "Mi propia vida es una técnica más al servicio de las ideas, de la obra", declara el artista.
Entre los artistas que experimentan con el arte como actitud, pocos manifiestan una presencia tan discreta como Socias. Su obra, articula operaciones antitéticas, y no simplemente clichés post-modernos como la ausencia de estilo personal. El artista ha escogido los procesos de la cultura contemporánea - tales como la interdisciplinaridad de los medios expresivos, la transculturación y la multiplicidad de lo real - que deben ser permanentemente utilizados y reinventados. De ahí que su obra haya sido descrita como un laberinto, cuyo territorio cambiante incluye capas geológicas de concepto, ironía, materialidad, historia, filosofía, tiempo, fenomenología. El texto de Santiago Olmo sobre Antoni Socias para la Bienal de São Paulo es un extraordinario ejemplo de cómo un diálogo productivo entre culturas puede enriquecer la mirada sobre un artista y respetar las diferencias. 2 En este texto, Santiago Olmo, con erudición y en la perspectiva de la Antropofagia y del canibalismo como práctica simbólica, construye la dimensión autofágica de Antoni Socias. En obras como Hambre Directa (1992), el artista consume sus antiguos cuadros hiperrealistas, al copiar sus fragmentos. El artista devora y se alimenta de su propia historia de artista. La reinvención de la pauta caníbal por Socias podría compararse a la obra de Hélio Oiticica o de Bruce Nauman. Son artistas que exploran ambivalencias y, cada uno a su manera, resuelven una metáfora mítica de violencia (o sea tal y como Occidente interpretó el canibalismo) en una transparente declaración de la necesidad concreta de participar en los valores del Otro. Socias priva a su acción antropofágico-caníbal de un teatro de patologías. Al comentar la Antropofagia y su propio origen en una entrevista con Rosa Olivares, afirma que "a los brasileños les podría explicar que históricamente, por tradición, yo vengo de una tierra, que es Mallorca, que ha sido invadida por otras culturas que nos han ido dejando y que hemos tenido que tragar con todo y regenerarlo, de hecho somos fruto de toda esa conjunción de romanos, fenicios, cartagineses, árabes, ingleses y todos los que hayan podido pasar por aquí". 3
En el taller mental de Socias, también "la obra es su propio proceso. El proceso refleja la vida", comenta Olmo. Socias se retrata, toma restos que no utilizó en su taller, recicla sus obras anteriores. Se valoriza la experiencia de la elaboración intelectual y material de la obra, mientras que no se sitúa frente a la escena como Narciso. Se desencadena una fenomenología de la experiencia, mientras que ante todo elige y califica cuidadosamente el sujeto. No se trata de un yo transcendental. El campo es el de su experiencia de artista y no la de un sujeto genérico e indeterminado. Toda autorreferencia dentro de su producción es siempre una etapa en la investigación del proceso de constitución del lenguaje. Ya se ha dicho que el proceso es autofágico - se alimenta de sí mismo para poder servir al conocimiento. Entiende que, en el caso del arte, valorar críticamente la historia significa considerar físicamente su propio arte como paradigma operacional y la reinventa. Se apropia de sus propias obras, de sus obras y a la vez de los registros documentales que de ellas hace. Lo que está en juego no es un arte autorreferencial o cerrado sobre sí mismo. Prevalece la necesidad de investigar los diversos planos que constituyen el estatuto social del arte.

Socias valora la adecuación de medios técnicos y de sus diferencias para la construcción de un lenguaje. En la serie Enriquecidos, el artista asocia pintura como fragmento que adhiere al cuerpo de la fotografía e influye así sobre su código de lectura. Quizás lo más importante no sea la imagen, si no el proceso de selección, sus motivaciones y sus asociaciones. La finalidad de este proceso selectivo es la progresiva densidad del espesor del lenguaje. Socias construye una fenomenología de la experiencia, mientras que, como ya se ha visto, se concentra en la idea del artista. En la aludida Bienal de São Paulo, la relación cambiante y devorante entre fotografía y pintura también fue puesta de relieve por Veit Gorner y discutida por Anelle Lütgens en el texto con el sugestivo título de "Good enough to eat: on Richter, Polke, and the artist's self-pillage" (Bastante bueno como para comer: sobre Richter, Polke y el auto-saqueo del artista). 4 La fenomenología de la experiencia vivida por Socias está arraigada en la idea de arte como actitud. Y de ahí que él, en su delicada descripción, hable de una experiencia más general. La fenomenología de la experiencia se concentra en la invención del lenguaje. Socias solo opera en el nivel de su gramatología. Parte de la angustia de Antoni Socias es reconocer la ambigüedad de toda forma de comunicación, o de un modo heideggeriano los límites y comprender que el lenguaje toca la frontera de lo inexpresable. El artista es un lector de Ludwig Wittgenstein, del Tractatus Logico-Philosophicus.5 Su arte está en un territorio de búsqueda del límite de significación residual de lo visible. Como en la razón iluminista, un elogio a la ceguera y al no-conocimiento visual siempre concluye en una afirmación de la mirada.

Procesos y materiales
Por la manera en la que opera su "taller mental", el arte de Socias se define más como un arte de procesos experimentales que como desarrollo de un método canónico de elaboración artística. Su metodología incluye procesos de acreción 6, la acción de la precariedad, autofagia, hambre directa, densidad, acumulación, enriquecimiento, tiempo.
Bajo la óptica de la acción de la precariedad, obsérvese como en la XXIV Bienal de São Paulo, tres artistas se articulaban a través de su trabajo con modelos de "refugio precario". Había una "estética de la adversidad", vinculada a las favelas de Rio de Janeiro, de Tropicália de Hélio Oiticica, la articulación de Michael Asher de una crítica institucional como modelo de solidaridad social y la obra de Antoni Socias. El artista español explora el límite de la producción del lenguaje enfrentado con la extrema penuria en el modelo de Chabola.7 El resultado es la construcción de un refugio precario para la identidad, por la superposición de materiales utilitarios (embalaje) sobre la imagen fotográfica. En el taller mental de Socias, los materiales - la materia del arte, en resumen - sufren un riguroso escrutinio conceptual para la comprensión de su contribución posible a la arquitectura política de la obra. La pregnancia simbólica o el sentido histórico son valorados.
En un primer nivel, incide una fenomenología de la corporeidad de las obras de arte, en cuanto cosa, de la que se apropia el artista. La lógica de la obra de Socias conduce a la (re)organización física del mundo, pero también nos induce a la sospecha de que pueda ser siempre un arte provisional. Trozos de obras más antiguas, recortadas, sobras y materiales rechazados - cueros, linóleo, fotografías, etiquetas, objetos, etc. - se agregan ya desposeídos de su identidad anterior o precisamente porque no pudieron integrarse a la producción. Existe una violencia con la historia y un pudor económico que parecen convivir en esos procedimientos en trabajos como One Hundred (1992-1993), From One Hundred to End (1993-1995) o Justificación derecha (1998). Los principales "materiales" de la obra de Socias quizás sea justamente lo inmaterial: intercambios simbólicos, el concepto de arte, las nociones de tiempo, tensiones y conceptos antitéticos. Olmo observa que Socias opera con todo un universo de materia caliente en constante agitación. Narrando su intensa experiencia de observación del mundo en el tránsito urbano, dice el artista: "Entre dos paseos mi tiempo es hielo". 8

En esa dimensión poética, se le ocurrió al artista tomar una piedra y modificarla, solo un poco en cuanto piedra (de manera diferente, por ejemplo, de la piedra reconfigurada en pájaro por Max Ernst). Esa acción de Socias es como redimensionar el tiempo, acelerarlo en su acción sobre el cuerpo de las piedras que ruedan en el agua o se alteran a causa del viento. Su obra se desarrolla como un complejo horizonte temporal.
El tiempo es el territorio de la retotalización conceptual, política y física de la obra de Antoni Socias. El dominio de la idea de experiencia determina actitudes, tales como la premeditación y la repetición, pierdan importancia estratégica en su taller mental. La edición de una agenda (Agenda Alomar Cero) es transformada en la posibilidad de un diario, aparentemente confesional a través de imágenes, para después perder esa dimensión individualista. Una agenda organiza productivamente días y semanas, de ahí que la presencia de autorretratos supere cualquier idea de duración intensamente personal.
Antoni Socias corrompe los tiempos específicos de cada medio técnico, como pintura y fotografía. Otras temporalidades rigen su obra: la pintura es recortada y la fotografía se recubre. Socias trabaja con una red de operaciones de tiempo del lenguaje: deconstrucción, corte, reconstrucción, des-significación, que pueden tener correlación con otras dimensiones del tiempo de la experiencia individual: duración, discontinuidad, circularidad, sincronía y asincronía; o los tiempos sociales: leyendas, memoria colectiva, atavismo simbólico, y sobretodo historia(s). "Si mueres, todo se puede recomponer", remata el artista. 9
Un "arte provisional" implica operaciones de lenguaje sobre el mundo físico y concreto del arte, tales como ideas empíricas de reapropiación, reciclaje, restructuración, destrucción y reconstrucción, re-totalización, re-ordenamiento, entre otras. A su vez, todo eso implica a la obra en una pesquisa cuyo objetivo es la transformación de su condición actual en pasado y proyectarla hacia el futuro dentro de un nuevo orden. Socias ya no promete un arte definitivo, pero se reserva la posibilidad de volver a él, de una manera crítica y activa en un proceso de auto-construcción. Sobre una obra concluida de Socias, ahora, parece siempre vogar al pairo la posibilidad de un tiempo abierto: regresar al arte mismo, cuando ya era una cosa positiva, y establecer una nueva cognición a partir de este punto de vista. Es su intención actuar, como en el diálogo de Penélope con el tiempo, crear, des-crear y recrear. Así su obra estará en una situación potencial de retorno a la condición de un devenir. El tiempo no es la mera re-ordenación del pasado, si no una re-significación del presente, como una especie de "actualización" del presente hacia el futuro. Densidad y acumulación son dos procesos que se enuncian en esa producción de sentido. Así, la reapropiación indicaría una razón dialéctica. Se anuncia un nuevo grado de politización del acto constitutivo del lenguaje simbólico. La obra de Antoni Socias parece estar contaminada por las circunstancias del "pensamiento débil", esa fragilidad del pensamiento en relación con el mundo y la sociedad, con la dialéctica y la diferencia, tal y como la han estudiado Gianni Vattimo y otros.
Antoni Socias propone una confrontación entre vida e historia. No se trata de hechos, si no de una historia interna de sentidos en la cual la existencia intencional del arte encuentra un refugio inestable. Por otro lado, al examinar el plano inmaterial de su proceso de constitución del lenguaje, es cuando también podemos percibir cómo el arte de Socias, entendido como reorganización material del mundo, no evita que sea considerado como economía.

Tras entender la actitud artística y el proceso de constitución del lenguaje de Antoni Socias, surgen otros desafíos. Socias se sitúa en la categoría de los artistas que comprenden la relación necesaria entre formación de lenguaje y formación del valor en el sentido económico del término. Su actitud artística está orientada por una conciencia de la praxis frente a las ideologías que enmascaran lo real.
La función del conocimiento de la obra de arte pasa necesariamente, para Socias, por la investigación filosófica. Al retomar materialmente obras de arte o restos de su ejecución, el artista está constituyendo una especie de escatología de la obra de arte, que también está conectada a una economía del arte. Forty Seven + 1 (1996) es una obra de 30 metros de longitud, que se despliega como un diario económico del taller mental, en el que se aglutinan los materiales que alimentan el proceso creativo. No se debería entender como el destino último de las cosas, ser alzadas hasta la condición de arte al ser retomadas por el artista, como si eso fuera el ideal supremo de la materialidad. La dimensión escatológica en el proceso creativo de Socias está imbricada con la noción de que el arte informa y se forma a través de su propio proceso como su propia condición conceptual y material. Situándose muy cerca de la relación tiempo/economía, la Agenda Alomar Cero, en lo que tiene de diario, ya no?sería solo el retrato psicológico romántico del artista, si no una especie de dietario de contabilidad. Socias se autorretrata con la noción de "artista en cuanto productor de valor económico". En la Agenda Alomar Cero, el artista o su rostro se presentan en múltiples situaciones de adversidad y de incomodidad: confinamiento, compresión, inmersión, presión, entre otras, como si fuera un diario metafórico del modo en el que el trabajo es apropiado en el proceso de producción, lo que implica en la administración del cuerpo, a la manera de Vigiler et punir de Michel Foucault. El alma-arte administra el cuerpo instrumento de trabajo.
Si ya vimos como la obra es el refugio precario del lenguaje, este hecho marcará la lógica de la obra y obliga a la mención del ethos del arte de Antoni Socias. Al contrario de la conocida lógica capitalista del minimalismo ("less is more"), su arte se pauta en una lógica de la escasez. Socias estaría pues animado por una "voluntad de no renunciar a nada y de integrar todo dentro de un proyecto artístico global", como observa Olmo. El taller mental de Socias es una mera fábrica de trozos: economía de la re-inscripción. El artista trabaja con residuos del producto de su propio trabajo. No admitiría perdidas de áreas o de imágenes de las obras recicladas. Es de este modo que reorganiza el arte, como un teatro de reorganización del mundo, en 2.034 cuadrados (1994-1995) y Emiliano (1997). Hay una precisión territorial en esas obras, que permite la afirmación de que en la obra de Socias lo que se acumula es sentido en el proceso de densificación del espesor del lenguaje. La lógica de la obra de Socias parece desdoblar con la ocurrencia, entre otras muchas, de la lógica del fragmento, de la lógica de la sustracción, de la lógica de la acumulación, de la lógica de la densidad, de la lógica de la intervención. La obra Slides and Sheep / Second Life (1996-1998) ha sido construida con las diapositivas pertenecientes a su archivo de artista. Parece ser la función de las diapositivas la de ocultar, como si actuaran bajo la lógica de la opacidad, y revelar obras. Funcionan como soporte para una estructura serializada de marquitos de diapositivas blancos, negros y color ceniza.
El trabajo asume la aproximación peligrosa a la frontera de la nada. Es en ese territorio último, exiguo de lo muy poco que revierte el estado, casi de penuria visual, para establecer una penuria de la mirada. Su obra, muchas veces, parece recorrer, como ya se ha visto, a un elogio de la ceguera o a un conocimiento ontológico de la opacidad, para buscar el extremo inteligible e inteligente del acontecimiento visual.
Sencillamente la obra de Antoni Socias, como la de Cildo Meireles no opera de manera financiera por la contabilidad denegadora del minimalismo ("less is more" no es el deseo de lo mínimo si no de lo máximo), por el contrario aplica la economía de lo esencial. La manera de reducir la forma, la serialización o el trabajo con una reja remiten más a un esencialismo, con el que el minimalismo parece ser incompatible, o a una relación con la vida, diferente de la dicción minimalista. O en el punto máximo, pertenecería a la categoría de aquellas obras a las cuales Cildo Meireles se refiere irónicamente como "humilimominimalismo" 11 para indicar su rechazo a los juegos de poder del arte minimalista y de la hegemónica historia que se ha tejido entorno a él. El trabajo de Socias reúne operaciones físicas y simbólicas, económicas y éticas. Se relaciona con el minimalismo, como podría suceder también con Cildo Meireles. No se trataría de una necesidad por sus respectivas obras, si no más bien por cierta crítica imperialista, que se expande en el periodo de la post-Guerra Fría. El excesivo impulso del minimalismo, en cuanto estrategia cultural de la hegemonía norteamericana, triunfa y se disemina en cuanto discurso institucional en los años noventa, tras la imposición de la Pax Americana. El minimalismo sustituye a la antigua estrategia del discurso liberal de la afirmación del individualismo del Expresionismo Abstracto o de su manera de entender la libertad de comunicación y consumo del Pop Art, que fueron las puntas de lanza en el periodo de la Guerra Fría. Ahora un arte cuyo contenido político parece neutro o invisible corresponde a una estrategia cultural de consolidación de la hegemonía norteamericana en el campo cultural, como perfecta expresión de la Pax Americana: un arte visualmente limpio y sin ideología, como si la existencia de una confrontación ideológica a gran escala hubiese purificado el sistema capitalista de sus contradicciones más dolorosas.
Antoni Socias se pregunta sobre la actitud del artista, el lenguaje del arte y la formación del valor: ¿cuál es el valor añadido por la acción del artista? Socias opera en el plano micro-económico, buscando comprender el estatuto de la producción de la obra de arte, pero propicia una referencia a la antigua tradición de la economía de acentuar el valor de cambio de los signos y de su función en el proceso de la circulación de las riquezas. El artículo Marx et l'Inscription du travail de Goux establece relaciones analógicas entre escritura/trabajo, sentido/valor, denunciando "la complicidad entre el logocentrismo y el fetichismo del dinero y de la mercancía" 12 (y del arte añadiríamos). Es fundamental citar el argumento de Marx: "en su forma valor, la mercancía no conserva ningún vestigio de su valor de uso primero, ni siquiera del trabajo útil que le ha originado"13. Es en ese campo - y para comprender el estatuto del trabajo del artista - que Antoni Socias aporta sus dudas y cuestiones.
La teoría de los valores de la obra de Socias se inscribe en una tradición artística que se remonta a Marcel Duchamp 14 y a Cildo Meireles 15. Duchamp pagó a su dentista con el dibujo de un cheque con un valor de 115 US$, como intercambio con una "representación" del valor. Lo que pone de manifiesto aquello que es abstraído en el valor de cambio: especies y diferencia de trabajo. En su transacción con el dentista Tzanck, Duchamp propone dudas: ¿Cuál es el estatuto de todo eso - cheque o obra-de-arte? ¿Cuál es el valor de cambio de todo ello? ¿Cuáles son los residuos de los productos de trabajo? Ya Cildo Meireles agregó una etiqueta a su obra Árvore do Dinheiro para explicitar que su volumen está constituido por 100 billetes de 1 cruzeiro y que su valor es 2.000 cruzeiros. La operación expone rudamente el valor añadido por el factor "arte" y exaspera al público. Al reunir todo (moneda, precio, valor de cambio, obra de arte, trabajo) Árvore do Dinheiro cuestiona el "desfase entre valor de cambio y valor de uso, o entre valor simbólico y valor real" afirma el artista. Al confrontar los conceptos marxistas de "valor de uso" y "valor de cambio", Meireles aclara la operación de la constitución imaginaria del objeto de arte como un signo de valor de cambio. El artista exhibe las incongruencias entre valor y precio en el sistema monetario capitalista. Cildo desmonta la ilusión monetaria del valor como simulación de la explotación de la fuerza de trabajo. La operación de Socias repite una pregunta (¿Qué operación artístico-financiera es esta: Acumulación, capitalización, lucros o ahorro, incremento de valor?). En la misma medida que Jean-Joseph Goux había constatado la hegemonía paralela del sentido lingüístico y del valor de cambio de las mercancías 16, Antoni Socias se re-apropia de obras de arte propias, transformando su autoría en un grado cero de la creación, destruyéndola y recomponiéndola a partir de ella en otra nueva obra, como 2.034 Cuadrados (1994-1995) o Emiliano (1997). Socias propone nuevas indagaciones: al final ¿cuales son los residuos de los productos aquí agregados? ¿Cómo se produce esta operación? ¿Cómo se ajusta, ante la perturbadora obra de Socias, la afirmación de Jean-Joseph Goux, "El desconocimiento del valor de uso de los signos no es pues otra cosa que la ocultación de su valor productivo"17?

En el horizonte temporal y material de la obra de Antoni Socias se vislumbra que escribir sobre ella puede dirigir al fracaso, del que advierte el propio artista, al afirmar que es la crítica una actividad dificilísima, "porque desconecta una actividad que no se puede expresar con palabras"18. La inestabilidad de los sentidos, la transitoriedad de la existencia, la mutabilidad del estatuto, la no permanencia de la condición de una obra de arte en cuanto tal. Socias nos conduce a experimentar la paradoja de buscar una estabilidad conceptual en juegos de no permanencia y de búsqueda de lo que no se puede enunciar. "De lo que no se puede hablar es mejor callarse" advierte Ludwig Wittgenstein en el prólogo del Tractatus Logico-Philosophicus. Tras citar a Wittgenstein cuando contempla lo inefable, Antoni Socias tranquiliza "El arte es mucho más sencillo que todo eso, que todo lo que se habla de él". Tal vez sea ese el gran engaño del artista.

1 Rosa Olivares, La mirada (Entrevista con Antoni Socias), en Lápiz, año XVII, n.146: 29-43. 2 España en la XXIV Bienal Internacional de São Paulo, De aquí en adelante este texto será citado como Olmo. 3 Op. cit. Nota 1 supra, : 41 4 XXIV Bienal de São Paulo. Núcleo Histórico: Antropofagia e Historias de Canibalismos, 1998: 439. 5 El artista cita a este filósofo en la entrevista de la nota 1 supra. 6 Acción y efecto de crecer un cuerpo por adición de partículas desde el exterior. Se distingue de la concreción por no tener un origen químico. Puede ser migración de partículas en estado colonial, o por adherencia al rodar libremente el cuerpo sobre un lecho arcilloso, o por yuxtaposición, como en las masas de nieve o hielo. 7 Una imagen fotográfica está recubierta por el material de su propio embalaje. A la vez que nos resulta imposible reconocer la imagen o su tema, podemos sin embrago comprender su materialidad fotográfica, mientras que su apariencia es la de una barraca. 8 En "procesos. 8 13.Cac", en el catálogo España en la XXIV Bienal de São Paulo, op. cit. nota 2 supra 9 Op. cit. nota 1 supra 10 El Pensamiento Débil. Gianni Vattimo y Pier Aldo Rovatti (comp.) Edición española: Madrid, Ediciones Cátedra, 1990 11 Ver del autor (Paulo Herkenhoff) Por que Cildo? - Duchamp e Cildo e Duchamp en Por que Duchamp?. São Paulo, Istituto Cultural Itaú 1999: 62-77 12 Jean-Joseph Goux, Marx et l'Inscription du travail in Thèorie d'ensemble. Paris, Seuil, 1968 : 198 13 El Capital, I, capítulo I 14 Thierry de Duve, Marcel Duchamp, or the Phynancier of Modern Life (October, n.52, 1990). 15 Las ideas aquí expuestas sobre Cildo Meireles fueron discutidos por el autor en Arte é Money en Galeria Revista de Arte, São Paulo, março-abril 1991, nº 24:60-67, y en A Labyrinthine Ghetto: The Work of Cildo Meireles in Cildo Meireles, London, Phaidon Press 1999,: 36-81.?16 Op. cit. nota 12 supra,: 191 17 Ibidem,: 189. Este autor prosigue: "Ocultación del trabajo o del juego de signos, sobre y con otros signos. El valor operacional, la eficacia propia de los signos en la producción de sentido, el cálculo, la instancia puramente combinatoria, lo que podríamos nombrar con un término felizmente ambiguo la fábrica del texto (trabajo y estructura, fabricación y forma) se encuentra borrado (o más bien olvidado/rechazado) bajo la transparencia negociable (del sentido)". 18 Op.Cit. nota 1 supra.
(*) Paulo Herkenhoff fue director y responsible de la XXIV Bienal de Sâo Paulo, y es actualmente Conservador de las secciones de pintura y escultura en el MOMA de Nueva York.

Antoni Socías

El hallazgo de las trescientas cuarenta y una tablillas de Rehmillans ha supuesto un cambio importante en la investigación de una fase oscura de la historia que, debido a la gran cantidad de condicionantes que concurren en una misma dirección, fue denominado en su día como Período de la Confusión de las Mentes (1980-2080 d.C.).
Con anterioridad al descubrimiento del Tesoro de Rehmillans, se habían obtenido innumerables evidencias de una época especialmente negativa y rigurosa. Los estudios científicos llevados a cabo sobre cuatro mil setecientos cincuenta y ocho objetos, hallados en excavación, parecían no dejar lugar a dudas en este sentido. Tendencia extremadamente lógica por otra parte, dado el cúmulo de conflictos, catástrofes y acontecimientos severos acaecidos sobre la faz de la Tierra a lo largo de la primera mitad del siglo XXI. Tanto el desarrollo económico desaforado como el desorden medioambiental derivado de él y la insatisfacción y el hartazgo generalizado de la población, después de siglo y medio de abusos contra natura, pusieron contra las cuerdas de modo implacable al conjunto de las estructuras mundiales.
Este conjunto arqueológico es único en el mundo en su género. Restos materiales de un pasado-futuro que ponen en evidencia ciertas prácticas sociales extraordinarias, exclusivamente localizadas en el Mediterráneo Occidental, y que establecen un punto de inflexión decisivo a la hora de abordar dicho período. La semilla de la conciencia humana en su estado más puro alberga en este conjunto objetual y en la fuerza de su mensaje esperanzador. De algún modo podrían ser consideradas como el rastro iniciático de un crepúsculo, al mismo tiempo que reliquia evidente de un despertar. Larva de la quincuagésima regeneración atávica.
De la información obtenida a partir de este conjunto, y de otros elementos hallados en torno a los templos depositarios, se desprende que, al margen de la religión, los integrantes de una o varias congregaciones o sociedades, presumiblemente clandestinas, se auto-impusieron en los albores de la Confusión el compromiso de perpetuar toda una serie de presupuestos y creencias inalienables. Las tablas de arcilla habrían actuado como unidades modulares de una serie de dogmas y/o auspicios particulares, con la mirada puesta siempre puesta en un fin social superior. Los observantes rehmillanenses acudirían a unos enclaves determinados (Cueva 1, Cueva 2 y Cueva 3), en los que, a la manera de escribas, expertos en la nueva liturgia virtuosa traducirían sobre el barro sensible y en un lenguaje simbólico muy rico, todo aquello de lo que quisieran dejar constancia los “feligreses”. Buenos augurios, deseos de prosperidad, promesas, anhelos, pruebas y expectativas de amor, voluntades, predicciones de salud, demandas de cambio a mejor, códigos de buen comportamiento... y tantos otros temas en esa línea positiva. Observando las normas de un procedimiento instituido, aún no descifrado en su totalidad, dichos maestros de las formas y los conceptos habrían sabido sintetizar a la perfección, en el lenguaje rehmillanense del bajorrelieve, una mezcla a partes iguales de invocaciones puramente personales, jaculatorias solemnes mancomunadas y perspectivas mixtas. De viva voz los parroquianos relataban sus expectativas, mientras que los escribas las iban modulando sobre la arcilla a medida que se iban aclarando los conceptos durante las sesiones.
Todavía es pronto para poder explicar con una precisión absoluta lo que quieren transmitirnos esas piezas. El lenguaje jeroglífico-gestual que contienen parece contradecirse en muchos casos, dando lugar a paradojas o bucles de información confusa, difícilmente asumibles por arqueólogos e historiadores. Aunque también es cierto que se han podido aislar un conjunto de axiomas y fundamentos concluyentes, a partir de los cuales se estructura una investigación ordenada y eficaz.
Por motivos de seguridad, no es posible desvelar todavía la situación geográfica exacta de los depósitos arqueológicos de Rehmilans, ya que la exploración prosigue con enormes expectativas, encontrándose desde sus comienzos bajo secreto gubernamental. Desclasificar toda o parte de la investigación daría lugar con toda probabilidad a un retroceso en las pesquisas, ya que, tanto los últimos hallazgos como los cruces de las informaciones obtenidas en estos cinco últimos años, implican líneas de intervención tan diversas como tangenciales que, de hacerse públicas hoy, podrían dar lugar a estados de desconcierto general no deseados.
Se sabe no obstante que las excavaciones están localizadas en dos enclaves secretos de MayurQa y uno en la costa oeste de Cerdeña. Tres lugares de características muy similares: cueva de difícil detección en superficie, siempre profunda y con tendencia a la subterraneidad, con un amplio espacio de reunión a la entrada, múltiples nichos excavados en la roca para “recepcionar” las tablas, y dos cubículos con camastro de piedra, muy probablemente para posicionar a sendos centinelas. Son cavernas muy limpias, espacios respetados por el hombre, en los que no se han encontrado rastros de vandalismo, ni tan siquiera pinturas ni mensajes cincelados en sus paredes o techos. Preocupa sin embargo la ausencia de cientos de tablas, a tenor de los muchos nichos vacíos. Lo que da lugar a la especulación: no se sabe con certeza si esos nichos se tallaron y no se llenaron nunca o, por el contrario, las placas fueron robadas o incluso trasladadas por los propios “correligionarios” a otros posibles enclaves, todavía por descubrir. La dirección científica del proyecto se decanta por la tercera opción, la de la mudanza, ya que, de haber sido profanados los enterramientos, habrían sido detectados en las cuevas signos evidentes de trajín y/o violencia.

Nacido en Inca / Mallorca / 1955· 1973-1978 Estudios en la Escuela de Bellas Artes Sant Jordi de Barcelona· 1978/1982 Diseñador gráfico en la firma YANKO.· 1989/1990 Diseñador de zapatos en la firma MAKE-UP.· 1991/1998 Responsable del área de Comunicación en la firma CAMPER.· 2001 Comisario de la exposición Art, Aigua, Altesa, de Luis Pérez-Mínguez, en ell Centre Cultural Sa Nostra, de Palma de Mallorca.· 2003 Responsable de la presentación de la firma Carmina Albaladejo en Europa.· 1998-2008 Colabora habitualmente en temas de comunicación y publicidad con la empresa, de Mallorca· 2004 Imparte un taller de fotografía en los Cursos de Verano de El Escorial· 2006 Imparte un taller de fotografía en la Academia de Bellas Artes de Kinshasa/Congo

2007 - “Desierto”. Galería Rafael Ortiz. Sevilla
2005 - “Socías2.2 ”. Fundació Sa Nostra. Palma.
2004 - Asignatura Pendiente. Galería Fontanar. Riaza. Segovia
2003 - “Antes de nada, salvemos nuestras mentes”. Galería Rafael Ortiz. Sevilla?- “Antes de nada, salvemos nuestras mentes”. Galería Altair. Palma de Mallorca - “Socías2”. Galería Masha Prieto/PhotoEspaña. Madrid. - “Das Atelier Mallorca” en el Kunstmuseum de Bonn (dic.2003-feb.2004)
2002 - “Madre Pintura”. Galería René Metrás. Barcelona.
2001 - “Historia de varias coincidencias”. Galería Masha Prieto. Madrid. PhotoEspaña 2001.
2000 - “Acreció”. Casal Solleric. Palma de Mallorca
1999 - Galería Gianni Giacobbi. Palma de Mallorca. - Galería Urania. Barcelona. Marzo. - Galería René Metrás. Barcelona. Marzo.
1998. - Representa a España en la XXIV Bienal de Sâo Paulo en Brasil.
1997. - "M.e.U.". Centre D'Art Sa Cuartera. Inca (Baleares). - Galería Rafael Ortiz. Sevilla.
1996. - Galería René Metrás. Barcelona.
1995 - "Mapa Oficial Actualizad". Galería Angel Romero. Madrid.
1993 - "Hambre Directa". Galería Rafael Ortiz. Sevilla. ?- "Cabeza de Hombre y Cuerpo de Cocodrilo". Galería René Metrás. Barcelona. - 20 años, 1973-1993". Galería Joan Guaita. Palma de Mallorca. - Galería Joan Guaita
1992 - "Christiane". Galería Angel Romero. Madrid.
1990 - Forum. Galería Angel Romero-Madrid. Messe Düsseldorf. Germany. - Marunouchi Gallery. Tokyo. Japan.
1989 - "Resnou". Esposición conjunta con Luis Pérez-Minguez. Sa Llotja. Palma de Mallorca. - Galería René Metrás. Barcelona.
1988 - "Cruda". Sala Pelaires. Palma de Mallorca - Forum Internationale Kunstmesse. Hamburg. Germany / Galería Angel Romero (Madrid). - Galería Rafael Ortiz. Sevilla. - Art LA.88. Galería Angel Romero-Madrid. Convention Center. Los Angeles. USA.
1987 - Arco 87. Galería René Metrás-Barcelona. Madrid. - Galería Marieta Gual. Cala D'Or. Mallorca. - "Cruor". Galería Angel Romero. Madrid.
1986 - Casa de Yanguas. Granada.
1985 - "Cantants amb futur". Video conjunto con Marcos Vadell. - "Silenci Basic". Esculturas en el paisaje de Mallorca. - "Silenci Basic (Azul, Rojo y Amarillo)". Galería Egam (Azul). Madrid. Galería René Metrás (Rojo). Barcelona. Sala Pelaires (Amarillo). Palma de Mallorca.
1984 - Arco 84. Sala Pelaires. Madrid. - Participa en el montaje "20 años aprendiendo a mirar" de Luis Perez-Minguez. Biblioteca Nacional. Madrid. - Casa de Cultura. Ibiza. - "Cantants amb futur". Sala Vayreda. Barcelona.
1983 - Sala Pelaires. Palma de Mallorca.
1982 - Sala Pelaires. Palma de Mallorca. - Galerias Bennassar. Pollença. Mallorca.
1981 - Bolhagen Kunstcentrum Alte Molkërei. Worswede (Bremen). Germany.
1980 - Galería Joaquim Mir. Palma de Mallorca.
1977 - "Calamondín, el naranjo enano". Exposición conjunta con Pere Joan y Menéndez Rojas. 4Gats. Palma de Mallorca.
1976 - "No sea tímido, pose con los artistas". Miquel Barceló & Antoni Socias. Estudi D'Art. Barcelona. - Galería 4Gats. Palma de Mallorca.
1975 - Casa de Cultura de Campanet. Mallorca.
1973 - Librería Tous. Palma de Mallorca.

2009 - Urbanea. Inca. Mallorca - Aprendiendo a Mirar : 25 años de la Galeria Rafael Ortiz. Casa de las Artes. Sevilla.
2008 - “Colección Suñol”. Fundación Suñol. Barcelona - Bienal de la O.N.C.E.
2006 -“Le paysage humaine”. Academie des Beaux Arts. Kinshasa. RD Congo.
2005 - VIes Rencontres Africaines de la Photographie. Bamako. Mali
2004 - ¿Pintura, Pintura! Galería Marlborough. Madrid
2002 - Desaïllaments: Centre D’Art Santa Mónica (Barcelona); Instituto Cervantes (Roma); Künstlerhaus Bethanien (Berlín).
2001 - Anteprima-Bovisa, Milano-Europa 2000. Palazzo de la Triennale. Milano. - “Una locura”. Galería Artalrec. Barcelona. - “Erotisme a la plástica contemporània a les Illes Balears”. Muestra itinerante.
2000 - Arco 2000. Galería Rafael Ortiz (Sevilla) - La Realitat sota sospita. Casal Solleric (Palma de Mallorca) - Artistas de la Galería Rafael Ortiz de Sevilla. Galería Alejandro Sales (Barcelona) - L’Art dans le monde. Pont Alexandre III, Paris. - “Fotografia Contemporània a Mallorca”. Muestra itinerante.
1999 - Arco 99. Galería Gianni Giacobbi (Palma de Mallorca) - Itineraris damunt paper. Torre de Ses Puntes (Manacor/Mallorca).
1998 - “12+1”. Casal Solleric. Palma de Mallorca. - “35 Años de la Galería René Metrás”. Gal. René Metrás. Barcelona. - Arco 98. Galería Ángel Romero. Madrid.
1997 - "99 Cacahuetes y una madrina". Arco 97. Galería Angel Romero. Madrid.
1996 - Arco 96. Galería Angel Romero. Madrid. - Colectiva Galería Joan Guaita. Palma de Mallorca. - Presencies del nostre temps". Galería René Metrás. Barcelona
1995 - Arco 95. Galería Angel Romero. Madrid. - Casa de Cultura. Palma de Mallorca.
1993 - "Sin Título V". Galería Paralel. Valencia.
1992 - "Live the balcony open". Panorama de la fotografía actual en España. Sala Catalunya. La Caixa. Barcelona.
1991 - Arco 91. Galería Ángel Romero. Madrid
1989 - Arco 89. Galería Ángel Romero. Madrid. - Art Cologne. Torch Galerie (Amsterdam). Colonia. Alemania
1987 - "Obra gráfica Taller 6A". Museo de Calcografía Nacional. Madrid. - "Territorio Mediterráneo". Casa de Yanguas. Granada. - "Pintado en Mallorca". Centro Cultural Conde Duque. Madrid. - ART LA. Galería Angel Romero-Madrid. Convention Center. Los Angeles, California.
1986 - Arco 86. Galería Privat-Palma. Madrid. - “Navegants de la Pintura". Calviá. Mallorca. - "Tristán". Capella de la Misericordia. Palma de Mallorca.
1985 - "13 Pintors neofiguratius a Mallorca". Sa Llotja. Palma de Mallorca. - Arco 85. Sala Pelaires-Palma. Madrid.
1983 - "Retratos de finales del siglo XX". Galería René Metrás. Barcelona.
1982 - Arco 82. Sala Pelaires. Madrid. - Primera “Mostra d'Art als Països catalans”. Vich. Barcelona. - Bienal Hispanoamericana de México. México D.F.
1981 - Primera “Mostra d'Arts Plástiques a les Balears”. Casal Solleric-Palma de Mallorca. - Primera “Mostra d'Arts Plástiques a les Balears”. Palau Meca-Barcelona.
1975 - Premio de pintura Joan Miró. Sala Pelaires. Palma de Mallorca

1978/1982 Diseñador gráfico en la firma YANKO. 1989/1990 Diseñador de zapatos en la firma MAKE-UP. 1991/1998 Responsable del área de Comunicación en la firma CAMPER. 2001 Comisario de la exposición Art, Aigua, Altesa, de Luis Pérez-Mínguez, en ell Centre Cultural Sa Nostra, de Palma de Mallorca. 2003 Diseño de la presentación de la firma Carmina Albaladejo en París. 1998-2008 Colabora en temas de comunicación y publicidad con la empresa, de Mallorca. 2004 Imparte un taller de fotografía en los Cursos de Verano de El Escorial. 2006 Imparte un taller de fotografía en la Academia de Bellas Artes de Kinshasa/Congo

2007 -Agencia EFE: “Las galerías españolas cierran Arco eufóricas por las ventas”. La Vanguardia, Lunes, 19 de febrero de 2007. -“Desierto”. El Giraldillo, Sevilla. Enero 2007-05-08 -Marta Carrasco: “Antoni Socías: Hay muchos artistas que olvidan lo que es crear para situarse”. Diario ABC. Miércoles, 10 de enero de 2007. -Luís Sánchez-Moliní: “Antoni Socías se mofa del mundo del arte en la Galería Rafael Ortiz”. Diario de Sevilla, Cultura y Ocio. Martes, 9 de enero de 2007.?-Juan Bosco Díaz-Urmeneta: “Verdades como puños”. Diario de Sevilla, Arte. Jueves, 25 de enero de 2007. -Matías Vallés: “Antoni Socías, artista en absoluta soledad crítica”. Diario de Mallorca, En Contra. Sábado 14 de abril de 2007.
2006 -Santiago Olmo: “Taller Kinshasa”. ARTECONTEXTO nº 11?-Cuaderno de Color: “Antoni Socías / Sweet Home Cabaneta”. Telos/Fundación Telefónica nº 68
2005 -Lourdes Durán: “Socías al cuadrado en el mundo denso”. Diario de Mallorca. Jueves, 15 de Septiembre 2005. -P. Giménez: “L’Art conceptual de Socías (2) medita sobre la densitat del món”. Diari de Balears. Dijous, 15 de setembre de 2005. -Europa Press: “Socías al cuadrat, una exposición conceptual con fotografía y video”. Ultima Hora. Jueves, 15 de septiembre de 2005. -Biel Amer: “Biel AMER en una conversación con Antoni y Enric Socías”. Cultura Mallorca, nº 1, septiembre 2005. -María Elena Vallés: “Lo real y lo virtual dialogan en la muestra “Socías al cuadrat”. El Mundo. Jueves, 15 de Septiembre de 2005. -Asun Clar/Carlos Jover: “El ciframiento hermético de la imagen”. El Mundo. Lunes 26 de septiembre de 2005.
-Luis Méndez: “Antoni Socias. TV Drawings / 2003. Descubrir el ARTE, nº 47, enero 2003.?-Redacción: “Antoni Socias”. Diario de Sevilla / El Día por delante. Miércoles, 15 de enero. -C.B.: “Antoni Socías”. ABC del Ocio/Sevilla. Jueves, 16 de enero. -Redacción: “Antoni Socías”. ABC. Sábado, 18 de enero. -Redacción: “Ecología Mental”. Antique Magazine (Sevilla). Enero 2003.?-J. B. Díaz-Urmeneta: “Excavaciones en el lenguaje”. Diario de Sevilla. Miércoles, 29 de enero.?-J. B. Díaz-Urmeneta: “Moderno y mediterráneo”. Diario de Sevilla. Miércoles, 29 de enero. -Redacción: “Antoni Socías”. El Giraldillo/Sevilla. Febrero 2003. -Rosa Pérez: “El personaje”. Fluido Rosa, RNE Radio 3. Viernes, 31 de enero. -Margot Molina: “Zapping mental/Antoni Socías”. El País / Babelia. Sábado, 1 de febrero. -Bernardo Palomo: “Antoni Socías”. El Cultural / diario El Mundo. 6-12 febrero -Biel Amer: “Las buenas intenciones”. Diario de Mallorca/Bellver. Viernes, 14 de febrero. -Lourdes Durán: “Socías: MI lucha es dar un paso más”. Diario de Mallorca. Jueves, 3 de abril. -Dowglas Reyes: “La galería Altair inaugura una exposición de Socías”. El Mundo/El Día de Baleares. Jueves, 3 de abril. -Mariana Díaz: “Antoni Socías traslada al arte su análisis de los contenidos televisivos”. Diario Última Hora. Jueves, 3 de abril. -P. Jiménez: “L’Artista Antoni Socías advoca pel ‘reciclatge mental’ d’idees a Altair. Diari de Balears. Jueves, 3 de abril. -Cristina Ros: “Antoni Socías, reciclatge mental”. L’Espira/Diari de Balears. Sábado. 26 de abril. -Gudi Moragues: “Con la mente a buen recaudo”. Diario Última Hora. Domingo, 4 de mayo. -Manuel Falces: “PhotoEspaña: cuando el yo es el otro”. El País/Babelia. Sábado, 7 mayo. -Mariana Díaz: “<> inicia una saga de artistas que se estrena en PhotoEspaña”. Diario Ultima Hora. Lunes, 16 de junio.?-Mariana Díaz: “<> inicia una nissaga d’artistes que s’estrena al certamen PhotoEspaña”. Diari de Balears. Dilluns, 16 de juny. - Porfolio-FV “Nosotros también somos el Otro”. FV (Foto-Video Actualidad), nº 176 -Redacción: “La capital de la fotografía”. Dominical-El Periódico de Catalunya, 14-15 junio. -Gregorio Belinchón, Carlos Delgado, Mª Jesús Gil de Antuñano, Plablo Gumón, Chema Lapuente, Iñigo López Palacios, Isidoro Merino y Liliana Millán: “50 Ideas para este verano: nº 26: Fotografía de dos capitales”. El País Semanal, domingo 22 de junio. -Virginia Díaz y Blanca Basiano: “Socías al cuadrado”. Música es 3 / Radio Nacional de España, Radio 3. Martes, 24 de junio. -María José Mora: “Antoni Socías”. Junio 2003. -María García Yelo: “Antoni y Enric Socías”. Blaco y Negro/ABC Cultural. Sábado, 19 de julio.
-Ángela Molina: “Trementina y dolor”. El País / Babelia. Sábado, 18 de mayo. -Mar Estrada: “Abstracción mental”. Brisas / Última Hora. Sábado, 18 de mayo. -Joan Bufill: “Antoni Socias: Madre Pintura”. La Vanguardia. Viernes, 7 de junio.?-M. Cerezález: Una obra de Antoni Socias, instalada en el aeropuerto de Son Sant Joan. El Mundo/El Día de Baleares, lunes 29 de julio. -Emilio Manzano: “Bienvenidos al ritmo mallorquín”. El País, jueves 31 de octubre.
-Santiago B. Olmo: “Miradas oblicuas”. Lápiz, nº 172, abril 2001. -Pilar Ribal: “Antoni Socias: Densitat incógnita”. Catàleg de l’exposició Escultures de Pintor. Casal Solleric/ Palma de Mallorca. Julio 2001. -Pilar Ribal: “Lèrotisme: invitació a la mirada”. Catàleg de l’exposició: Erotisme a la plástica contemporània a les Illes Balears. Julio 2001. -Rosa Olivares: “Imágenes multiplicadas/PhotoEspaña 2001”. ABC Cultural, nº 489, 9 de junio. -Biel AMER: “La imagen como fin”. Diario de Mallorca; suplemento Bellver. Viernes, 22 de junio. -Mariana Díaz: “Antoni Socias: Siempre procuro buscar cinco pies al gato”. Diario Última Hora. Lunes, 18 de junio. -Lourdes Durán: “Las artes de Eros en Balears”. Diario de Mallorca. Domingo, 10 de junio. -Fernando Martín Galán: “Antoni Socias: el observador abstracto”.ABC Cultural, 7 de julio. -Elena Vozmediano: “Antoni Socias”. El Cultural/ El Mundo. 11-17 de julio. -Rafael Soldevilla: “Antoni Socias: Creador polivalente”. Man, nº 167, septiembre.
Antoni Planas: “Antoni Socias repasa en el Casal Solleric su trayectoria de los años 90”. Última Hora, jueves 20 de enero. Cristina Ros (El bodegón): “Antoni Socias”. Última Hora, jueves 20 de enero. Lourdes Durán: . Diario de Mallorca (Actual), jueves 20 de enero. Bartomeu Homar: “Antoni Socias muestra su obra de los noventa en el Casal Solleric”. El Mundo/El Día de Baleares (Cultura), jueves 20 de enero. Carme Castells: . Diari de Balears, dijous 20 de gener. Andreu Manresa: “Creacions sigil·loses i per fer xerrar”. El País (Quadern/Arts), dijous 27 de gener. Cristina Ros: “A vueltas con la propia obra”. Brisas nº 667, sábado 29 de enero. Joan Carles Gomis: “Elogio (brillante) de la acreción”. Última Hora, miércoles 2 de febrero. Cristina Ros: “Antoni Socias: la reinvenció constant del propi mon”. Balears Cultural, diumenge 6 de febrer. Biel Amer: “Aplicaciones del fragmento”. Diario de Mallorca (Bellver), jueves 10 de febrero. Pilar Ribal: “La vida como técnica artística”. El Mundo/El Día de Baleares, domingo 13 de febrero. Juan Carlos Rego: “Antoni Socias/Lolita Timofeva”. Arte y Parte, nº 25 febrero-marzo 2000. Santiago B. Olmo: “Procesos, acumulaciones y reciclajes: una interpretación del tiempo”. Lápiz nº 160, febrero 2000. Jaume Vidal: “Transgresió de gèneres / Artistes de la Galeria Rafael Ortiz”. El País/Quadern, 4 de maig. (Incluye también foto en portada del suplemento). Mª Magdalena Brotons: Escultures de Palma. Editorial El Far. Col·lecció L’Esparrall. Juliol 2000 Santiago B. Olmo: “Le regard oblique”. Beaux Arts, special L’Art dans le Monde 2000, September 2000. Mª Josep Mulet: La darrera imatge. El discurs heterogeni de la fotografia actual a Mallorca. Catàleg de l’exposició: Fotogradia contemporània a Mallorca. Projecte Llevant. Setembre 2000.
Catalina Serra: “L’Observador abstracte”. Diario El País, 8 de abril de 1999. Arnau Puig: “Reciclados y acumulaciones de Antoni Socias”. ABC Cultural, 20 de marzo de 1999. Juan Bufill: El artista autocaníbal”. La Vanguardia, 19 de marzo de 1999. B.H.B.: “Antoni Socias, tras la Bienal de Sâo Paulo, expone en la Gianni Giacobbi”. El Mundo/El Día de Baleares, 2 de Febrero de 1999. Miguel Vicens: “Tras participar en la Bienal de Sâo Paulo, el artista inaugura hoy una exposición en la galería Gianni Giacobbi”. Diario de Mallorca, 2 de Febrero de 1999. S. Bennassar: Antoni Socias inaugura avui vespre a la galeria Gianni Giacobbi de Palma”. Diari de Balears, 2 de febrer de 1999. Gabriel Alomar: “Antoni Socias extrae arte del material reciclado en su última exposición”. Diari Última Hora, 2 de febrero de 1999. Joan Carles Gomis: “Antoni Socias: La transgresión como método”. Diari Última Hora, 4 de marzo de 1999. Pilar Ribal: “Antoni Socías: El arte por sí mismo. Fragmentos de vida acristalada y detenida”. Diario El Mundo/El Día de Baleares, 14 de marzo de 1999. Cristina Ros: “Antoni Socias: La diversió en l’àmbit del pensament”. Diari de Balears, 28 de febrero de 1999. J.M.L.: “Antoni Socias”. Arte y Parte, febrero-marzo 1999. Biel Amer: “Propuestas de acá para allá”. Diario de Mallorca, 18 de marzo de 1999. Biel Amer: “La intimidad según Antoni Socias”. Diario de Mallorca, 4 de marzo de 1999.?J.M.Cadena: “Antoni Socias”. El Periódico de Catalunya, 23 de marzo de 1999.?Redacción: “Antoni Socias”. Baleares Magazine nº 24, marzo-abril 1999. Lurdes Durán: “Tres Galerias de Mallorca invitadas a la Feria de Colonia”. Diario de Mallorca, 28 de Octubre. Cristina Ros:”A la recerca de la sincronia histórica”. Catáleg de léxposició Itineraris damunt paper/El dibuix a la Plástica contemporània a Mallorca. Projecte Llevant. Decembre 1999.
María Jesús Díez: “Antoni Socias mostrará su obra en la Bienal de Sâo Paulo”. Diario de Mallorca, 5 de Mayo. Raphel Ferrer: “Antoni Socias agota casi todos sus cuadros”. Ultima Hora, 17 de Mayo. Biel Amer: “Antoni Socías: Cuando trabajo me siento muy canibal”. Diario de Mallorca, 29 de Junio. Llorenç capellá: “Antoni Socías”. Brisas (suiplemento dominical del periódico Ultima Hora), Agosto. Emilio Manzano: “Un francotirador viaja a Brasil”. Semanario de La Vanguardia, 26 de Julio. Santiago B. Olmo: “Desde el Paisaje”. Lápiz, nº 145, Verano 98. Pilar Ribal: “Antoni Socías representa a España en la Bienal de Sâo Paulo”. El Mundo/El Día de Baleares, 24 de Septiembre. Pilar Ribal: “Antoni Socias, artista seleccionado por la Bienal de Sâo Paulo” El Día del Mundo, 25 de Septiembre. Eduardo Jordá: “Antoni Socías en Sâo Paulo”. Diario de Mallorca, 29 de Septiembre. Europa Press: “Antoni Socías representa a España en la Bienal de Sâo Paulo”. La Vanguardia, 29 de Septiembre. Rosa Olivares: “La mirada”. Lápiz nº 146, Octubre 98. Catalina Serra: “La Bienal de Sâo Paulo se dedica a la antropofagia como síntesis artística. El mallorquín Antoni Socías representa a España con seis obras destructivas”. El País, 3 de Octubre. Javier Espinosa: “Tributo a la antropofagia artística”. El Mundo, 4 de Octubre. Joaquim Ibarz: “La Bienal de Arte de Sâo Paulo explora la identidad nacida de la antropofagia cultural. El mallorquín Antoni Socías…”. La Vanguardia, 11 de Octubre. Ramón de España: “Nuestro hombre en Sâo Paulo”. El País, 11 de Octubre. Redacción: “Sâo Paulo. Bienal Internacional”. Ronda Iberia, Octubre. Mariana Díaz: “Antoni Socías, un artista que se define como trabajador de las ideas”. Ultima Hora, 20 de Octubre. Joan Carles Gomis: “…De la antropofagia como credo”. Ultima Hora, 4 de Noviembre.
Rosa Olivares: "Toni Socias". Lápiz nº 132?Angel L.Pérez Villén: Antoni Socias. Lápiz nº 137 Pedro Alfageme: "Algunos trabajos con fotografías". El Correo de Andalucía, 26.10.97 Pilar Ribal: "¿Lo han leído? Antoni Socias o la vocación de la paradoja". El Día del Mundo, 19.4.97 Biel Amer: "Razón de ser". Diario de Malorca, 11.4.97 R.M.: "Antoni Socias". Arte y Parte nº 11, Octubre-Noviembre. Redacción: "Fotografías de Antoni Socías". Antiquaria, Noviembre. M.J.C.: "Socías, el juego de las formas". El País/Andalucía, 29 de Septiembre. “Fotografía: Antoni Socias”. El País de las tentaciones/Agenda, 26 de Septiembre. Manuel Lorente:"Antoni Socias". ABC de las Artes, 10 de Octubre Redacción: "Antoni Socías o las mil maneras de entender el arte". Gaceta Universitaria, 1 de Octubre. Juan Bufill: "La nueva generación del arte español". La Vanguardia, 30 de Marzo. Antoni Martín: "El Centre D'Art Sa Cuartera acull des d'avui la mostra M.e.U., d'Antoni Socias". Balears, 21 de Marzo. María Martín: El artista Antoni Socías expone sus últimas creaciones en Inca”. Diario Ultima Hora, 21 de marzo del 97. Gabriel Rodas: “Antoni Socias: El trabajo me dicta lo que tengo que hacer”. Diario de Mallorca, 21 de Marzo del 97.
Ramón de España: "Adorable locura". El País, 8.6.96 Juan Bufill: "Humor y Caos". La vanguardia, 21.6.96 Contxita Oliver: "La desviació domèstica d'Antoni Socias". Avui, 4.7.96 Agenda "El País de las Tentaciones", 7 de Junio. Redacción: "Antoni Socías mostra un centenar de fotos a la René Metrás". Avui, 5 de Junio.
José María Parreño: "El mapa actualizado de Antoni Socias". ABC de las Artes, 1 de Diciembre. José Ramón Danvila: "Antoni Socías: Construyendo lo destruído". El Punto, 8 de Diciembre.
- L.S.: "Les artistes donnent le pas". Jardin des Modes, Septembre 1994.
Biel Amer: "Contra el aburrimiento". Diario de Mallorca, 16.10.93 Juan Bufill: "La perplejidad recobrada". La Vanguardia, 2.4.93 Emilio Manzano: "Compre arte y llévese la bicicleta". La Vanguardia, 17.3.93 Manuel Lorente: "Antoni Socías, la ironía transparente" ABC de las Artes, 29.1.93 Bettina Dubcovsky: "Cuando la fotografía se torna pétrea y otras historias". Diario 16, 20 de Septiembre. Carlos Canals: "Antoni Socias: Retazos". Suplemento de El día, Septiembre. Cristina Ros: "Antoni Socias, nunca convencional". Diario de Mallorca, 16 de Octubre. Maria Jose Corominas: "Los bebés de Antoni Socías". Diario 16, 22 de Octubre. Cristina Ros: "Inauguración de Antoni Socías, veinte años después". Diario de Mallorca, 5 de Octubre. Manuel Calderón: "Antoni Socias". ABC de las Artes, Marzo 1993. Carlos D. Marco: "Sin Título V". Levante, Mayo 1993.?Mª José Merino: "A. Socías expone en la Galería René Metrás de Barcelona". El Día del Mundo, 2 de Abril. Jacqui Boddington: “Hitting the street”. Shoe & Leather News, julio 93.?Santiago B. Olmo: “Antoni Socias”. Lápiz, nº 97, noviembre 93.
- Cristina Ros: "Cuando el graffiti es comunicación". Diario de Mallorca, 24.1.9?- Juan Bufill: "Diez visiones actuales". ABC de las Artes, Septiembre 1992. Manel Clot: “Corrientes de Aire Fresco”. El País, 2.11.92 Josep Palou: La versatilidad de Antoni Socias. Ultima Hora/Reportajes, 2.10.92 Adolfo Castaño: La Clave de Antoni Socias. ABC de las Artes, 23.10.92 Santiago B. Olmo: Las imágenes fotográficas en manos de Antoni-o Socias. Diario de Mallorca/Arte, 7.12.90
Bettina Dubcovsky: "El arte a sus pies". El Día 16 de Baleares, 7 de Marzo. Cristina Ros: “Antonio Socias, a sus pies”. Diario de Mallorca, 14 de Marzo. José María Sarriegui: “Antonio Socías: Inventar la Naturaleza”. Gala, nº1, Julio 91.
Sol Alonso: Las brujas y don Juan". El País, 29.10.90 Merche Yoyoba: "Sus fotos tiene picaportes para agarrarse". El Independiente, 2.11.90?Revista Tiempo/Agenda/Arte: Antonio Socías. 12.11.90 Tomás Paredes: Arte y Naturaleza. El Punto, 30.11.90
Rosa Olivares: "Silencio Básico". Lápiz nº58, Abril. Lydia Oliva: "Arcofotografía". Baleares, 4 de Febrero. Alexandre Melo: "Plataforma Transcontinental". El País/Artes, 14 de Enero. “Los Angeles miran a Europa”. Lápiz/Agenda Mercado. Febrero 89.
Maria Lluïsa Borràs: "Betty Cryns o cómo iniciar una Colección de Arte". La Vanguardia, 27 de Septiembre. Catalina Serra: "Col_lecció Cryns, la polémica". Ultima Hora, 27 de Septiembre. José María Sarriegui: "Treinta piezas de la Colección Cryns en la próxima exposición de La Lonja". Diario de Mallorca, Septiembre 1988. Agustín Delgado:"Sansirolés". Suplemento/CULTURAS de Diario-16. 30 de Enero. Catalina Serra: "Mallorquines en Arco". Brisas, 14 de Febrero. Catalina Serra: "Claves convencionales para seguir sin poder explicar la obra de Antoni Socias". Ultima Hora, 9 de Febrero. José María Sarriegui: "Avalancha de nuevas exposiciones". Diario de Mallorca/Zona Cultural, 22 de Enero. Rafael Perelló: "Claves del Siglo XX. Socias". Ultima Hora, 2 de Febrero Fausto Velázquez: Socias y Hernández”. ABC Cultural, 12 de Mayo.?Julio G. Arteaga: “Antonio Socias”. El Giraldillo de Sevilla, nº 52, Mayo. Ramón de España y Antoni-o Socias: “Mallorca. Algo más que paella y playa”. Ajoblanco, Julio-Agosto.
Fernando Huici: "Antoni Socías". El País, 6.11.87 Pablo Jiménez: "Punto y Contrapunto en la obra de Antonio Socias". El Punto, 30 de Octubre. Alfonso Armada: "La isla de la Pintura". El País, 2 de Noviembre. P.B.Marín: "Mallorquines en Madrid". Ya, 31 de Octubre. J.M. Costa: "Antonio Socias". ABC de las Artes, 5-11-87 Catalina Serra: "Antonio Socías: este mes tien dos exposiciones en Madrid". Ultima Hora, 3 de Noviembre. Gloria Otero: "Antonio Socias". El Globo/Agenda, 13 de Noviembre. Epoca/Agenda, 16 de Noviembre. Catalina Serra: "Siete artistas mallorquines pintan de color el Otoño de la Villa y Corte". Ultima Hora, 29 de Octubre. Francisco Rotger: "Antoni-o Socias". El Día de Baleares, 11 de Enero. Fabio: "Antoni Socias presentó un libro sobre su obra". Ultima Hora, 14 de Febrero. C.S.: "Tristán: Un mito para la inspiración". New Art International, January 87. Jaume Torres Mestre: “Cansanci, Sorpresa, Confirmació, Esperança. Pintado en Mallorca”. El Mirall nº 13, 12.87.
Catalina Serra: "Dos pintores y un diálogo. Joan Riutort y Antoni-o Socias, dos estilos diferentes con un concepto cercano". El Día de Baleares, 18 de Noviembre.
Francisco Calvo Serraller: "En el azul de Madrid". El País/En Cartel, 8.12.85 Miguel Logroño: "Antonio Socías". Diario 16 (Guía 16), Nov.85 Mª Lluïsa Borrás: Los clamores y los silencios de Antoni Socías. La Vanguardia, 22.9.85 Gloria Collado: "Ordenaciones del caos". La guía del Ocio, 11-17.12.85 Eduardo Jordá: "Antoni-o Socías: Una polaroid en el reino sumergido. El Día de Baleares, 8.2.85 Basilio Baltasar: "El síndrome Barceló". Lápiz, nº 25 Rafael Perelló Paradelo: "Socias". Ultima Hora, 20 de Noviembre. "Antoni Socias" en Hogares D.M.A., Noviembre. S.V.: "El mallorquín Socías reparte tres colores en tres ciudades". El Noticiero Universal, 17 de Octubre. Ruiz Collado: "Silenci Bàsic, de Antonio Socias, a la vez en Palma, Madrid y Barcelona. El Día de Baleares, 13 de Noviembre. Francesc Seguí: "El peñón central de Cala Deiá amaneció pintado de amarillo". Ultima Hora, 7 de Julio. Mark Gomes: "People, places'n' stuff". Majorca Daily Bulletin, 12 de Noviembre.?Basilio Baltasar: “Iconotropía”. Cuadernos del Norte, Septiembre-Octubre.
Valentí Puig: "Els Perfils de la impaciència". El País, 9.12.84 Guillem Frontera: "Antoni-o Socías. EL orgullo de ser pintor". Diario Baleares, 9 de Septiembre. Rafael Perelló: "Exposición de Antonio Socias". Ultima Hora, 29 de Noviembre.
Emilio Pérez de Rozas: "Mallorca, un paraíso futbolístico donde todo son negativos". El País, 22.11.83 Basilio Baltasar: "Antoni Socías expone en Mallorca nuevas pinturas, que rompen con su trayectoria". El País, 25.11.83 Toni Salvá: "La pintura refleja de Antonio Socias". Suplemento de El Día de Baleares, nº 74, Noviembre. José Bauzá y Pizá: "Antonio Socías en Pelaires". Diario de Mallorca, 26 de Noviembre. Maria Lluïsa Borrás: "La Pintura como espejo". La Vanguardia, 31 de Enero. Vicente Verdú: "Retratos". El País, 4 de Diciembre. Maria Arnanz: "Antoni Socias expone en la Sala Pelaires". Ultima Hora, 12 de Noviembre.
Josep Meliá: "Tiempo de realismo". Guadalimar, nº 65 Rafael Perelló Paradelo: "Dos hoperrealistas: Antoni Socías y C.J.Kerrigan". Ultima Hora, 26 de Enero. José Bauzá y Pizá: "A. Socias en Pelaires. Diario de Mallorca, 21 de Enero. Mark Gomes: "Antonio Socías". Majorca Daily Bulletin, 11 Marzo.
Francisco Calvo Serraller: "El Arte en las Baleares". El País, Julio 1981.?Rafael Perelló Paradelo: "Certámenes veraniegos". Ultima Hora, 15 Septiembre.
Rafael Perelló: "Antoni Socías". Hoja del Lunes (Baleares). 17 de Marzo.?Rafel Jaume: "El lado lúdico". Ultima Hora, 23 de Marzo.
Blai Bonet: "Antoni Socias: El silencio expresado por la pintura". Diario de Baleares/Domingo. Blai Bonet: “En torno a la XII Bienal Internacional de Sâo Paulo. Enric Irueste: Un maestro del año 2.000”. Diario de Mallorca, 13 de Febrero. En este artículo, dedicado a la XII Bienal, Blai Bonet apunta que Enric Irueste, Damiá Jaume y Antoni Socías podrían muy bien representar a España en la Bienal de Sâo Paulo, pese a su juventud.

Casa Real de España
Museo Nacional de Arte Reina Sofía
Museo Artium / Vitoria
Museu Es Baluard / Palma de Mallorca
Fundación La Caixa / Barcelona
Fundació Sunyol / Barcelona
Fundació Sa Nostra / Balears
Colección de La Bolsa de Barcelona
Colección Cryns
Colección Royaltur España
Govern Balear
Consell de Malorca
Ajuntament de Palma de Mallorca
Ajuntament de Pollença / Mallorca
Colecciones particulares de España, Portugal, Alemania, U.S.A., Japón, Suecia...

Davis Museum © 2010

MAY 1 - AUGUST 31, 2010

Carlos Rezende, Cora Coralina, 2010
Painted digital print and collage on wood
7,8 x 8,2 x 6,6 in

Carlos Rezende (Paraisópolis, Minas Gerais, Brazil)
He studied architecture, School of Architecture and Urbanism, University of São Paulo.
Frescoes and History of Art - Accademia di Belle Arte di Roma.

Muralist, worked with the American artist
Sol Lewitt, brazilians architects Ruy Ohtake, Carlos Trocca, Raul de Pace.
Multidisciplinary artist, art critic, columnist of the newspaper Tribuna Impressa since 2001, writer: Os Véus, A., Ateliê Editorial, São Paulo, among others publications.

Cora Coralina - Expanded Cubes Series by Carlos Rezende.
Cora Coralina is an extensive project of sculptures by Carlos Rezende based on the poetry of brazilian writer Cora Coralina (1889-1985) and the studies on the geometrical figure of the cube after the researching of the conceptual artist Sol Lewitt (1928-2007) in which Rezende was collaborator.

Sol Lewitt, an American artist (1928-2007), exponent of the Conceptual and Minimalist Art Movement created a project where he studies and implements in the territory of art geometry math of Cubes, initially in his extensive series called Incomplete Open Cubes, later in their Closed Cubes, a late work by Lewitt. The latest large-format closed cubes, constructed of wood, Lewitt made drawings on their surface, stamping the big cubes. Cora Coralina, expanded cubes - small formats series. Expanded Cubes is a series of graphic works and sculptures where I record considerations of various kinds of things, poems, photographs, collages, drawings, taken from my album of personal anthology- review of the brazilian Baroque, visual poems, erotic photographs on the edge of pornography, anatomical charts, cutouts and colorful cards.
Expanded cubes are emancipated engravings, midway between the graphical and paper sculpture. Physical media of a collection of images created to serve the project as Cifra (concrete poems), Anatomies as Landscapes, drawings, photographs and literary texts from the work resulted from my research at Institute of Anatomical Research of UNESP (Universidade Estadual Paulista), under the guidance of Prof. Ronaldo Vaz de Carvalho.

Davis Museum © 2010

JANUARY 1 - APRIL 30, 2010

Richard Garet, Gap, Edition 5/5, 2009, Video, 07:10:00

Richard Garet is a sound and visual artist that currently lives and works in New York, USA. He is interested in the phenomena found and produced in aural and visual time-based media, in nature’s processes, and human beings' relationship with both artificial and natural environments. Garet explores the it-referential, communicational, and sensory characteristics of the various media he utilizes. Additionally, he focuses on the investigation of aural and visual spatial-contexts, relational structures, process, materiality, function, and form. Even though Garet’s work suits the standard gallery setting, many of his other activities as an artist explore the various practices of experimental sound and video performance. All of these modes are additional ways in which Garet’s work exposes the audience to visual and physical-acoustic sensory perception. Richard Garet has collaborated in the past with artists Andy Graydon, Gill Arno, Ben Owen, Gil Sanson, and André Goncalves through the EA collective. He has also collaborated with Asher, Brendan Murray, Shimpei Takeda, Sawako, Chika Iijima, Bruce Tovsky, Bruce McClure, Adam Kendall, Jeremy Slater, Peter Eudenbach, Wolfgang Von Stürmer, Zimoun, Zach Layton, Aaron Kadoch, and David Velez. His interdisciplinary media work has been showed in the USA and internationally and his sound work has been released by the sound-art labels Non Visual Objects, Winds Measure Recordings, Unframed Recordings, Con-V, Leerraum, and White_Line Editions.

BA Visual Arts Empire State College/S.U.N.Y., NYC
Certificate Fine Arts Painting The Arts Student League of New York, NYC

2006 - New York State Council on The Arts, Electronic, Media, and Film Program
Grant Award through Lehman College Art Gallery

2006 - The Frank Lloyd Wright School of Architecture, Taliesin West, Scottsdale, AZ

2007 - Extract: Portraits of Sound Artists, NONVISUALOBJECTS, Vienna, Austria

2008 - L’avenir (solo), WINDS MEASURE RECORDINGS, NYC, USA
2007 - Extract: Portraits of Sound Artists (compilation), NONVISUALOBJECTS, Vienna, Austria
2006 - Intrinsic Motion (solo), NONVISUALOBJECTS, Vienna, Austria.
2005 - Terrirorium (compilation), NONVISUALOBJECTS, Vienna, Austria.

2008 - Of Distance, Richard Garet and Brendan Murray, UNFRAMED RECORDINGS, NYC, USA
2006 - Balancing Act with Controlled Dynamics / EA, WINDS MEASURE RECORDINGS, NYC, USA
2005 - 8 Sound Works / EA, Tune (Out)))side, 103point9, Brooklyn, N.Y., USA

2008 - Winter (solo) 4.0 Surround Audio DVD, LEERRAUM, Bern, Switzerland


2008 - Balancing Act with Controlled Dynamics: Take Two / EA (collective) CON-V, Madrid, Spain


2008 - v-p v-f is v-n 7" compilation series, 7001, WINDS MEASURE RECORDINGS, NYC, USA

05/09 LEER VOLL/Fully Empty, Diapason Gallery, 882 3rd Ave. 10th Floor, Brooklyn, NY 11232. Group Show
05/09 Sound In The Frying Pan, Electronic Music Foundation, Pier 66 at West Side Highway, NYC. Group Show
04/09 Selected Photography, Solar, 44 Davids Lane, East Hampton, NY 11937. Group Show
03/09 Squared In--Squared Out, HACS - 3326 North Miami Ave. Miami, Florida 33127. Group Show
12/08 Various Artists, Gallery 415, 49 Geary Street, 4th Floor, San Francisco, CA 94108. Group Show
10/08 Reflect—Refract, Rich Gallery, 111 Mount Street, London W1K 2TT, UK. Group Show
09/08 Video-Dumbo, Galapagos Art Space, 16 Main Street, D.U.M.B.O. Brooklyn, NY. Group Show
09/08 New Media Festival, HACS - 3326 North Miami Ave. Miami, Florida 33127. Group Show
06/08 Possibilities of Action: The Life of a Score, Museum of Contemporary Art of Barcelona. Group Show
05/08 SNO, Level 1, 175 Marrickville Road, Marrickville, Sydney, NSW 2204, Australia. Group Show
02/08 Video as Instrument II, S. T. Gallery, 213 N8th St, Williamsburg-Brooklyn, NY 11211. Group Show
01/08 Anniversary Group Show, Gallery 415, 49 Geary Street, 4th Floor, San Francisco CA 94108
09/07 Time Frame, Gallery 415, 49 Geary Street, 4th Floor, San Francisco, CA 94108. Solo Show
09/07 New Media Festival, HACS - 3326 North Miami Ave. Miami, Florida 33127. Group Show
12/06 Happily Ever After, HACS - 3326 North Miami Ave. Miami, Florida 33127. Group Show
09/06 New Media Festival, HACS - 3326 North Miami Ave. Miami, Florida 33127. Group Show
08/06 Pure Form, Solar, 44 Davids Lane, East Hampton, NY. Group Show
03/06 SELF, HACS - 3326 North Miami Ave. Miami, Florida 33127. Solo Show
03/06 The (S) Files, Museum’s Biennial, Museo de Arte de Puerto Rico, San Juan. Group Show
12/05 Threads, Solar, 44 Davids Lane, East Hampton, NY. Group Show
08/05 Venezueland, Galeria Galou, Williamsburg-Brooklyn, NY. Group Show
08/05 The (S) Files, Museum’s Biennial, El Museo del Barrio, NYC. Group Show
06/05 Nurturing the New ’05, Nurture Art Gallery, hosted by Spike Gallery, NYC. Group Show
03/05 The Capture of the Temporal, Appalachian State University, NC. Group Show
11/04 Out of Bounds, Appalachian State University, NC. Group Show
07/04 2nd Juried Show Competition, Galou Gallery, Brooklyn, NY. Group Show
04/04 Transplantation. Adaptation. Globalization, Creative Arts Guild, Dalton, GA. Group Show
02/04 Emphasis, Gallery of The Venezuelan Consulate, NYC. Group Show
10/03 Latin Art Digital Diaspora, Estudio Soto, Boston, MA. Group Show
08/02 Gazpacho, HCC-Arts Gallery, Highland, NY. Group Show
04/02 Farbe, Gallery of The Venezuelan Consulate, NYC. Two Person Show
12/01 Faces/Phases, Manhattan Borough President Office, NYC. Group Show

03/09 Arte Americas, HACS Booth #500, Miami Beach Convention Center Hall A
03/09 Scope, HACS Booth, Lincoln Center Damrosch Park, 62nd Street and Amsterdam, NYC 10023
11/08 Pinta NYC, HACS Booth, The Metropolitan Pavilion, 125 West 18th Street, NY, NY
12/07 Art Now, Gallery 415, Claremont Hotel 1700 Collins Ave. Miami Beach, FL
09/07 Affair at the Jupiter Hotel, Gallery 415, Jupiter Hotel 800 E. Burnside, Portland, OR
06/07 Ballelatina Contemporary Art Fair, HACS Booth, Westquai 39, Drellándereck CH-4054 Basel
12/06 Photo Miami Art Fair, HACS Booth, Soho Building, 2136 NW 1st Avenue, Miami, FL

05/23/09 Live, LEER VOLL/Fully Empty, Diapason Gallery, 882 3rd Ave. 10th Floor, Brooklyn, NY 11232
04/23/09 Live at Listen Space, 195 Skillman Ave, Williamsburg, Brooklyn, 11211
04/03/09 Live at The Tank, NYCEMF, 354 West 45th Street, NYC
04/03/09 NYCEMF, Graduate Center, 365 Fifth Ave, NYC
03/07/09 Fotofono, 440 Broadway, 2L, Brooklyn, NY 11211
03/06/09 Solar at Elga Wimmer PCC Art Gallery, 526 West 26th Street, #310, NYC, 10001
02/09/09 And/Oar night, Diapason Gallery, 882 3rd Ave. 10th Floor, Brooklyn, NY 11232
12/12/09 vBrooklyn, Polytechnic University, Brooklyn, NY. 9 channel video screening
12/04/08 Optosonic Tea, Diapason Gallery, 882 3rd Ave. 10th Floor, Brooklyn, NY 11232
11/29/08 Visual Sounds, Festival of Music and Intermedia, Alte Feuerwache / Cologne, Germany
11/17/08 Paris London West Nile, 285 Kent Ave. #2, Brooklyn, NY
11/16/08 Share, Santos Party House, Chinatown, NYC
11/07/08 Unitygain, Monkey Town, 58 North 3rd Street - Williamsburg, Brooklyn, NY
09/19/08 Leerraum night co-presented by Bowerbird and Gate, Rotunda, 4014 Walnut St. Philadelphia, PA
09/17/08 Leerraum Night, Monkey Town, 58 North 3rd Street - Williamsburg, Brooklyn, NY
08/28/08 Axiom Gallery (co-presented by NON-EVENT, 141 Green Street, Jamaica Plain, MA
08/23/08 Issue Project Room, 232 Third Street, Brooklyn, NY 11215. Asher, B. Murray, R. Garet
05/14/08 Rake, Monkey Town, 58 North 3rd Street - Williamsburg, Brooklyn, NY. Richard Garet and WVS
04/24/08 Unitygain, Monkey Town, 58 North 3rd Street – Williamsburg-Brooklyn, NY. R. Garet and A. Kendall
04/20/08 Shortwave, Brooklyn Navy Yard -- 106 Bldg 30
04/12/08 Quad Live Performance, Issue Project Room, 232 3rd St. (on 3rd Ave) -- Brooklyn, NY 11215
03/18/08 Screen Compositions 4, Experimental Intermedia, 224 Centre St. NYC, 10013. R. Garet and WvS
03/09/08 Video as Instrument II, S. T. Gallery, 213 N8th St, Williamsburg-Brooklyn, NY 11211. R. Garet and WvS
02/26/08 Three Pieces, 1112 Larkin St. (at Sutter) #307, San Francisco, CA 94109
01/30/08 Rake, Monkey Town, 58 North 3rd Street – Williamsburg-Brooklyn, NY. R. Garet and Audrey Chen
12/02/07 vBrooklyn, Polytechnic University, Brooklyn, NY. Richard Garet and Adam Kendall
11/30/07 vBrooklyn, Polytechnic University, Brooklyn, NY. 9 channel video screening
11/29/07 Columbia Computer Music Center, Fun Night, Prentis Hall, 632 W 125th St. NYC
10/16/07 Data Transfer, Monkey Town, 58 North 3rd Street - Williamsburg, Brooklyn, NY
10/12/07 Eyewash, Monkey Town, 58 North 3rd Street - Williamsburg, Brooklyn, NY. R. Garet and A. Kendall
07/07/07 Tune out-side, Acra, NY
06/16/07 Points in a Circle, Issue Project Room, Brooklyn, NY. Richard Garet and Bruce Tovsky
06/02/07 The Bushwick Starr, 207 Starr St, Bushwick, Brooklyn, NY C. Cohen, R. Garet and A. Kendall
11/13/06 A Fold in the Fabric, LMAK Projects Gallery, 526 West 26th Street. #310, NYC
10/28/06 NY Phonographers meeting II _ 6 & B Community Garden, NYC
10/21/06 Underpass, Diapason Gallery for Sound and Intermedia, 1026 Ave. of the Americas, NYC
08/20/06 Meetings III, Issue Project Room, 400 Carroll St. Brooklyn, NY
07/22/06 Bushwick Art Project, BAP, 3rd Ward, 195 Morgan Ave, Brooklyn, NY
07/19/06 Monkey Town, 58 North 3rd Street - Williamsburg, Brooklyn, NY. Richard Garet and WVS
05/13/06 Monkey Town, 58 North 3rd Street - Williamsburg, Brooklyn, NY
03/25/06 Millennium Film Workshop, 66 East 4th Street, NYC
03/24/06 Goliath Visual Space, 117 Dobbin St. Williamsburg, Brooklyn, NY. Richard Garet and WVS
03/09/06 Monkey Town, 58 North 3rd Street - Williamsburg, Brooklyn, NY. Richard Garet and Andy Graydon
03/08/06 Issue Project Room, 400 Carroll Street, Brooklyn, NY. (EA)
02/22/06 Sonogrammar.2, The Tank, NYC. Richard Garet and Bruce Tovsky
02/15/06 Darmstadt , Galapagos Art Space, Williamsburg, Brooklyn, NY. Richard Garet and Andy Graydon
12/08/05 Flow, The Tank, NYC. Richard Garet and Andy Graydon
12/03/05 Becoming, Millennium, NYC. (EA) and Bruce McClure
11/12/05 Sonogrammar, Antimart, Brooklyn, NY. (EA)
09/10/05 Plus One, at Art Interactive, Cambridge, MA. Richard Garet and Brendan Murray
09/07/05 Flow, at The Lucky Cat, Williamsburg-Brooklyn, NY
07/23/05 Noise Festival, Judson William Theater, NYC
07/12/05 Becoming, Participant INC Gallery, NYC. Richard Garet and Shimpei Takeda
07/04/05 Tune out-side, Acra, NY. (EA)
06/30/05 Live Series #5, NISUS-Galeria Galou, Brooklyn, NY. (EA)
05/29/05 EA Live, Share, Brooklyn, NY. (EA)
05/26/05 Live Series #4, Nisus-Galou, Brooklyn, NY. Richard Garet and Andre Goncalves
08/24/04 Duets, Nisus-Galou, Brooklyn, NY. Richard Garet and Brendan Murray
06/12/04 In & Out of Silence, Nisus-Galou, Brooklyn, NY
03/28/04 Live Listening No. 8, Anthology Films Archives, NYC
02/24/04 New No York Series, Tonic, NYC


Gê Orthof, 800º C, 2009, installation, mixed media, 7,8 x 7,8 x 7,8 in

800ºC a new object by Brazilian artist Gê Orthof, is a small and fragile construction made of matchboxes and acetate prints of images of fire, such as firemen, burning buildings, books etc. The title 800ºC alludes to the temperature (1,472ºF) that matches rise to, when they burn. The work was made especially for Davis Museum and will be exposed for the first time at LACDA, "Los Angeles Center for Digital Arts".
Orthof has been working with installation and performance arts since the eighties, with a particular interest for the intimacy of small size and poetic objects. That is a deliberated tactic for fighting against the banality and fast speed of contemporary life and art fruition. With the diminutive scale, the artist hopes to set a slower and more accurate approach of the audience’s observation, inviting the observer for getting closer in order to appreciate the works.

Gê Orthof: 1959, Petrópolis – Rio de Janeiro. Lives and works in Brasília, Brazil.
Professor at the Visual Arts Department - Art Institute - Brasília Federal University, since 1993, Visual Arts Coordinator at Latin American Culture House - Brasília University, (1999 – 2000). Visiting artist at School of Visual Arts, Penn State University (2002), Post-doctorate at the School of the Museum of Fine Arts, Tufts University (2001) Boston, Doctorate (Ed.D.) (1992), Ed. M (1985) and (M.A.) Visual Arts, T.C., Columbia University, Visiting artist at Aveiro University, Portugal (1990), New York, Fulbright Scholar at the School of Visual Arts, NYC (1983), and B. A. in Design at Rio de Janeiro State University (1981).
Founder editor of reVISta, the graduate program’s art magazine and has contributed with several publications specialized in art in Brazil, curatorship, and participation in juries, such as: Banco do Brasil Cultural Center, Caixa Cultural Center, Itaú Cultural Center, The National Foundation for The Arts, Brasília University, Brasília Cultural Foundation and Central Bank Museum. Has illustrated more than twenty children’s books for major publishing houses in Rio and São Paulo.
Since 1997 organizes Campus Muse, a student site-specific intervention group at the Brasília Federal University Campus.

2008 The violence’s history: Gertrud’s ground Centro de Arte Moderno, Madrid, Spain (Side event of Brazilian’s representation at Madrid’s ARCO Art Fair)
2006 Transtheater; Latin American Culture House, Brasília.
The Stripper’s Library: The Root Book, performance with Cecilia Aprigliano, Torreão, Porto Alegre, Brazil.
thestripperlibrary: The Root Book, performance with Cecilia Aprigliano, Centro Cultural Banco do Nordeste. Fortaleza.
2004 thestripperlibrary: The Root Book, performance with Cecilia Aprigliano, Arte Futura Gallery, Brasília.
2001 Receiving Chamber, performance with Gertrude Berg, Forest Hills Cemetery, Boston.
thestripperlibrary - work in progress, School of the Museum of Fine Arts Gallery, Boston.
2000 Before, Center de Arte Moderno, Buenos Aires, Argentina.
Over All Transport: Destination Madrid, Cruce Gallery, Madrid, Spain.
1999 Over All Transport: Destination Torreão, Porto Alegre.
1998 Over All Transport, Rubem Valentim Gallery. Brasília.
1997 Encapsulated The Sleeping Box, São Paulo Cultural Center.
1996 Encapsulated The Sleeping Box, Curitiba Cultural Center.
1994 Oxford – Brazil, Sérgio Porto Cultural Center, Rio de Janeiro and Museum of Contemporary Art, São Paulo.
1991 Macy Gallery, New York.
1987 UFF Art Gallery, Rio de Janeiro.
1984 Macy Gallery, Nova York.
1979 Divulgação e Pesquisa Cultural Center, Rio de Janeiro.

2009 Digital Capital. Museu de Arte e Ciência, João Pessoa, Brazil.
Work-Box. Centro Cultura Renato Russo, Brasília, Brazil.
2008 Work-Word. Museu Nacional da República, Brasília, Brazil.
2007 Garden of Power. Centro Cultural Banco do Brasil, Brasília, Brazil.
2006 Invaded City, traveling exhibition Spain and Brazil.
Gilberto Chateaubriand’s Collection; ECCO Cultural Center, Brasília, Brazil.
A flat place; ECCO Cultural Center, Brasília, Brazil.
2005 Human/ Post-Human, Bank of Brasil Cultural Center. Brasília, Brazil.
Brasília Contemporary Art, Caixa Cultural Center. Brasília, Brazil.
2004 Precious Vows. ECCO, Brasília, Brazil.
2003 Brazilian Contemporary Artists, Bogotá, Colombia.
The Red Room, Centro de Arte Moderno, Argentina.
Gentle Reversion, Oduvaldo Viana Filho Cultural Center, Rio de Janeiro, Brazil.
Plataforma Contemporânea, Museum Imperial, Petrópolis, Rio de Janeiro, Brazil.
2002 Precarious Image, Reference Gallery, Brasília.
Gentle Reversion, Bank of Brasil Cultural Center, Brasília.
2000 Feminine Dislocations, Caixa Cultural Center, Rio de Janeiro.
1998 Guest artist at National Art Salon, Museum of Modern Art of Rio de Janeiro.
1995 Frontiers. Museum of Brazilian Art, Álvares Penteado Foundation. São Paulo.
Panorama Brasília - IV Visual Arts Forum, Brasília.
1993 Panorama Brasília - II Visual Arts Forum, Brasília.
1992 Art Salon, Art in General, New York.
1991 Three Artist at St. James Chapel, New York.
Group Show, Wetherholt Gallery, The Funding Center, Washington D.C.
Group Show, Public Space, Washington D.C.

2005 Travel Abroad - Coordination Foundation of Improvement of Superior Level Personal CAPES.
2003 Travel Abroad - Coordination Foundation of Improvement of Superior Level Personal CAPES.
2001 International Exchange Scholarship - Penn State University, PA.
2001 Post Doctorate Scholarship Award - Coordination Foundation of Improvement of Superior Level Personal CAPES.
2000 Travel Abroad – Ministry of Culture - MINC.
1999/98 Research Scholarship – National Council for the Scientific and Technological Development CNPq: Supermodernity: Encapsulated Landscapes.
1999 Five best Exhibitions of the Year, Correio Braziliense Award. Brasília.
1998 Art Reality Award for Best Web Design Art Journal. California.
Elite Site Award for Best Web Design Art Journal.
Akita Award for Best Web Design Art Journal. Japan
Award-it for Best Web Design Art Journal. Canada
1993 Young Talents Award. School of Arts and Communication, São Paulo University ECA-USP.
1992/88 Doctorate Degree Abroad Scholarship. National Council for the Scientific and Technological Development.
1989 Professional Development Award. Columbia University, New York.
1982 “The Best for Children of the Year Award”. National Foundation for Children’s Book. Rio de Janeiro.
1981 “Brazilian Best Illustrator of the Year” São Paulo Art Critic Association.
1982 Study Abroad Scholarship. Organization of American States. Washington, D.C.
1985/83 Master Degree Abroad Scholarship. National Council for the Scientific and Technological Development.
1983 FULBRIGHT Scholarship.
1980 1st Prize (drawing). University of Rio Art Salon. Rio de Janeiro.
Art Project Scholarship. Ministry of Culture and Ministry of Education.
1979 1st Prize (engraving). University of Rio Art Salon. Rio de Janeiro.

Dr. Davidoff, NYC, USA. Dr. Soares, Chicago, USA. Dr Sahr, NYC, USA. Museu Murilo Mendes, Juiz de Fora, Brazil, Centro de Arte Moderno, Madrid, Spain, Casa de Cultura da América Latina, Brasília, Brazil, Espaço Cultural Contemporâneo- ECCO, Brasília, Brazil, Museu de Arte de Brasília - MAB

JULY 1 - SEPTEMBER 30, 2009

PSJM, Khodorkovsky, 2006, Animation, 00:52:00

PSJM is an artistic team conformed by Pablo San José (Mieres, 1969) and Cynthia Viera (Las Palmas, 1973) and operating in Berlín. PSJM acts as a commercial brand of cutting edge art posing questions about the work of art on the market, communication with consumers and the function as artistic quality, making use of the communicative resources of entertainment capitalism to highlight the paradoxes issuing from its chaotic development. PSJM has had shows in places like New York ("The Real Royal Trip… by the Arts", PS1-MOMA. In collaboration with El Perro and Aitor Méndez. DIVA NY 07, Blanca Soto Gallery), Basel (Volta 07, Riflemaker Gallery), Miami (Pulse 08, Galería Espacio Líquido), Berlin (Scala e.V., Zagreus Projekt), Sao Paulo (Baró Cruz Gallery), Stockholm (WIP:sthlm) or London (Riflemaker Gallery) and many solo and group shows in Spain, among them “Trial Balloons” in MUSAC and MARX® in Laboral and CAAM.

This work belongs to the series Hidden Brands that makes use of suggestion mechanisms normally used in the exercise of power, but in this case to show the dangers of globalised capitalism. It involves advertising those who do not wish it. Hidden Brands criticises hidden power, which is really aimed at all of us. In globalised post modernity, states are controlled by the interests of large multinationals and the people who govern them.
PSJM has chosen four predators and proposes to draw a portrait of them. The image of corporations reflects their identity, their policy. To represent these new global prophets, this same procedure was followed, creating four brands and representing each of them with a logo and a spot which emphasises their qualities, although critically.
After the fall of the USSR, the soviet oil company Yukos was privatised and purchased at a ridiculous price by Mikhail Khodorkovsky. When Khodorkovsky was arrested in Russia and his oil holdings in Yukos were confiscated, the process was much more than just a turn of the screw against the most powerful Jewish Zionist in Moscow. In a single blow, Russia’s strong arm President Vladimir Putin ensured the future of Russian oil operations and blocked the efforts of Israel, which was using free oil from Yukos, among others, to move its machinery of war throughout the Middle East.*

APRIL 1 - JUNE 31, 2009

María Cañas, The Toro's Revenge, 2006, video, 02:00:00

María Cañas, audiovisual artist and cannibal; art curator, collectionist and archivist; organiser of singular contests in the Internet having to do with appropriationism, with a Iberico ham as the suculent prize.
Her work is experimental, unpredictable, chaotic and mordant.
By means of iconographic cannibalism, she invites a reflection on the strange mixture of the fun, tremendismo, and lugubrious and sensual imagery which surrounds us.
Video pieces, photomontages, online televisions... with a great sense of humour that oscillates between irony and the prank, subtlety and obscenity, this Sevillan woman deforms in the mirror of her reflections the clichés and stereotypes of the Andaluz and Spanish imaginary: reality shows, the universe of the Iberico pig, the Fiesta Nacional, folklorism...
The work of María Cañas is a delirious visual torrent in which iconography and pornography, cinephagia and zoophilia go hand in hand.
In Cañas proposes other possible modes of production and distribution of the art performance today; as in her film El Perfecto Cerdo (2005) -a delirious and excessive metadiscoursive exercise about the “swinelike character” of information nowadays- which is also a declaration of principles: if we can make good use of everything in the pig, so can we with the contemporary image, wherever it comes from.
Her documentary scratches and collages, of the sci-fi-surrealist genre, under the notion of a cinema without limits, reach a large variety of narrative trajectories (false documentary, music video, vj, film essay, video performance, video art, found footage, home video...) and attempt to explore the hidden truth of images.
Cañas has found in appropriationism and double linking (an image or an idea that refers to another previously known) rich soil for meta-artistic reflection. Following this thread, she generates pieces that refer to others, to illuminate and/or pervert them.
Iconoclast, uninhibited, audacious and incorrect, many times excessive.

Among other prizes and acknowledgments, she received in 2006 the Prize for Art Practice Iniciarte and a grant for film production from the Junta de Andalucía for the project Meet my Meat N.Y. In 2007, she received the Roman GubernFilm Essay Award UAB. In 2005, she received the prize RTVA-Zemos98, the Barcelona VisualSound and the Jury Prize 6, Fundación Rodríguez.
She was shortlisted for the prizes Imagen Transmediale 03 (Berlín); Injuve01 (Madrid); Eurovídeo 01 (Málaga); Certamen de jóvenes creadores del Ayuntamiento de Madrid and Festival Alacant/Vídeo.
She has participated in collective exhibitions in the galleries Juana Aizpuru, La Caja China, Sala de eStar (Sevilla), Fernando Serrano (Huelva), Carmen de la Calle (Madrid), Galería 44 and ADN (Barcelona) and in solo exhibitions in the galleries Galería Carmen Carmona (Sevilla) and Llucià Homs (Barcelona).
Cañas collaborates in projects, publications, seminars, round tables and televisions, such as MTV (Sr. Chinarro’s music video), Canal Internacional,,, Fundación Rodríguez (, Videologías, Neff, Tv Jam - Centro Cultural de Montehermoso, Vitoria), A&E - Arteleku (San Sebastián), Mediateca CaixaForum - La Caixa, Casa Encendida - Caja Madrid, DVD Películas Musicales de Acuarela, Visual (Madrid), FICA (Badajoz), Blogs&Docs, MUSA, Neo2, MU Magazine, etc...
La Cosa Nuestra is a trip into the darkest and most surrealist side of the bullfighting universe. Fun and tremendismo* operating within an iconographic cannibalism.
* tremendismo makes reference to an aesthetic movement of 20th Century writers and painters in Spain who exaggerated the crudeness of life. In bullfighting, tremendismo refers to a style of bullfighting that pays more attention to the spectacular than to the classic rules of tauromachy.
The erotic perversity of fanatic pop fans cheering to bullfighters gored by the bulls Human death as a fiesta, let the horn enter and the music sound... Who said that the toro’s revenge could not be funny?

María Cañas (Seville, 1972) graduated in Fine Art. She completed a Doctorate in Aesthetics and the History of Philosophy at the University of Seville. She runs Animalario TV Producciones,, a platform for audiovisual experimentation in various fields: video-art, video-clips, installations, digital imagery and on-line projects.
Her work has been exhibited at Spanish galleries such as Juana de Aizpuru, Birimbao, Félix Gómez, La Caja China, Carmen Carmona and Sala de eStar (Seville), Fernando Serrano (Huelva), MECA (Almería), Carmen de la Calle (Madrid), ADN, Llucià Homs (Barcelona) Dean Project (N.Y) and Esca (Francia). Her work has also been shown at international festivals and events, including the Festival LOOP’08-07, BAC’06 (Barcelona), Les Rencontres Internationales París-Berlín-Madrid, Transmediale 03 (Berlín), INICIARTE-Tokio Cervantes Institute, Visible Evidence. Strategies for Success: Review video system strategies-Universidad de Lincoln, England, Annecy Spanish Cinema Bienal, Oberhausen Short Film Festival (Alemania), VISION:A: LOOP-Cervantes Institute of Pekín-Milán-Lyon-Casablanca-Brasilia-Estocolmo-Caracas-Praga-Polonia, DUOLUM Museum of Modern Art of Shanghai, WISPS IX Conference-Instituto Cervantes, Dublín, FIFVC-Beirut, the Navarra Festival of Audiovisual Creation, the Punto de Vista International Festival (Pamplona),
D-Generación: Cervantes Institute of Estocolmo, Praga and Dublín, Las Palmas International Film Festival, EX DOCS-XI Latinoamerican Cinema (Lima), Art Futura, VAD (Girona), Portland Underground Film Festival (Oregón), MUSA and Muca-Roma (México), ARCO, Muestra de Arte 2000 and Audiovisual Injuve 2000-01(Círculo de B.B.A.A. and Amadís Showroom, Madrid and Iberoamérica), Cervantes Institute (Manchester), Nelson Garrido Organization (Caracas), Cyberia (Santander), Canal Metro-Madrid Abierto, Medialab Panorama Digital 03 (Conde Duque, Madrid), Festival de Creación Audiovisual de Navarra, C.A.A.C, Espacio Iniciarte, caS, Lux´06, Zemos98 (Sevilla), Beat-Portobello Film Festival (Londres), Festival de Holguín (Cuba), Maribor Internacional Computer Arts Festival (Eslovenia), Wro Center For Media Art (Polonia), Teknemedia (Turín), ISEA (Nagoya), C.G.A.I (Galicia)…

Recently she has shown her project Kiss the Fire at the Espacio Iniciarte (Seville). Her work has won numerous prizes and awards, including several in 2007: The Ibn Batuta FIAV Prize (France) for her piece The Toro’s Revenge, the Memorimage Videocreación prize (Reus) and the Roman Gubern prize for Assaig Cinema.

In 2006, she received in 2006 the Prize for Art Practice Iniciarte and a grant for film production from the Junta de Andalucía for the project Meet my Meat N.Y..
In 2005, she received the prize RTVA-Zemos98, the Barcelona VisualSound and the Jury Prize 6, Fundación Rodríguez.
She was shortlisted for the prizes Imagen Transmediale 03 (Berlín); Injuve01 (Madrid); Eurovídeo 01 (Málaga); Certamen de jóvenes creadores del Ayuntamiento de Madrid and Festival Alacant/Vídeo.
Cañas collaborates in projects, publications, seminars, round tables and televisions, such as MTV (Sr. Chinarro videoclip), Canal Internacional, Documanía, TV3 Silenci, V87,,, Art Tech Media, Blogs&Docs, Fundación Rodríguez (, Videologías, Neff, Tv Jam - Centro Cultural de Montehermoso, Vitoria), A&E - Arteleku (San Sebastián), Mediateca CaixaForum - La Caixa, Casa Encendida - Caja Madrid, DVD Películas Musicales de Acuarela, Zemos 98, Fundación Audiovisual de Andalucía, Universidad de Bristol, Sevilla y Granada, C. E. A., F.I.C.A., Junta de Andalucía, Cajasol, caS, ICAS, Ayuntamiento de Sevilla, LOOP, AECI, INJUVE, IAJ, Instituto Cervantes, BAC, Mostrat, Experiencia MECA, Proyecto Lunar, Sevillafoto (Sevilla), Visual (Madrid), FICA (Badajoz), MUSA, Neo2, Revista MU, lafresa, etc...

María Cañas, an audiovisual cannibal, a collector and archivist, runs Animalario TV Producciones, an audiovisual experimentation platform in diverse fields: video pieces, musical videos, installations, photomontages, online televisions…
Her work is an invitation to reflect on the bizarre mixture of fun and alarm, of the gloomy, sensual imagery that surrounds us, operating in the iconographic cannibalism. It turns its provocative gaze towards some of the customs and traditions deeply rooted in our identity: bullfighting, the universe of the Iberian pig, folklore, television, reality shows, pornography, love…
María Cañas’ work is a delirious visual torrent in which iconoclasty and pornography, cinephagia and zoophilia go hand in hand.
Thanks to Cañas, concepts like “appropiationist cinema”, “collage” and “deconstruction”, which are suspects of disguising real mental masturbation, take on their whole transgressor, anarchic, unmasking, vitalistic sense.
The artist’s imagery shapes a passionate tableau which restores both ethical and aesthetic postulates from the Baroque period and Film Making to our time.
The essence of her creations flows into our consciousness even to our regret, questioning us on transcendental subjects: love, loneliness, death…diffusing a wealth of formal, existential density by means of a vitriol-like humour, a grotesque vision of the world which, according to her, is notably influenced by Luis Buñuel’s spirit and Román Gubern’s writings, among other authors.
Cañas’ video-collages and scratch-documentaries can be linked to the tradition of snipers who called classic cinema’s foundations into question, by means of experimental cinema or found footage, thus enlarging the meta-linguistic capacity of the audiovisual language and breaking the rules of the game. We are talking about visionaries such as Agnes Vardá, Chris Marker, Kenneth Anger, Werner Herzog, Jean-Luc Godard and so many others who lucidly sighted the hidden, naked truth of images, the lenitive power of the cinema, the ability to transmute filed and celluloid images, visions condemned to obscurity, into heterodoxy and visual vigour.
The artist creates her work by practicing “appropiationism” (remontage of someone else’s images in order to give new, different meanings to its original use), and also double linking (communication situations in which we receive different or contradictory messages), thus smoothing the way for meta-artistic reflection. is a place dedicated to recycling culture, an experimental visions file reinterpreting creations in the Internet context. Its interest is focused on the digitalization of artistic contents from the past, present and future, beyond style limitations.
Both in the online contest Y un Jamón and in Porco Archivo coexist net art, remixes, fakes, tributes, corsair art…”All those art manifestations which swiftly become common knowledge and brighten up our lives.”
Her video El Perfecto Cerdo (2005), a delirious and excessive metadiscursive exercise about the “swinelike character” of information nowadays, is also a declaration of principles: if we can make a good use of everything in the pig, the same applies to the contemporary image, wherever it may come from. All in all, it is a research on the creation devices that hold much of the contemporary cultural production.
In La Cosa Nuestra (2006), a bizarre trip to the most hidden, surrealist side of the tauromachy world, Cañas reels off the relations between the bull, other bovidae and man in different cultures, starting from a series of pieces overflowing with an iconoclast sense oh humour.
In El Perfecto Cerdo y La Cosa Nuestra, the artist practices a militant cinephagia by creating a delirious speech based on two ancient animals: the pig and the bull, typically rooted in our idiosyncrasy. They are chosen because of their influence in our collective imaginary, with the intention of subverting clichés and satirizing elements from popular culture.
Land of 1000 Tvs (2005), an apocalyptic fable filled with television sets and animals, generates an odd narrative about the media power to exterminate human beings and impose an “animal telecracy.”
In Down with Reality (2006), Cañas reflects with a false documentary style on reality shows through contemporary art and cinema.
This video challenges the scant cultural contribution of reality shows with the creative power and the feeling of immortality granted by the cinema to our collective psyche.
The end of this work is a tribute to those marvellous B-movies and to their directors, who turned minimalism (less money is more creativity) into their raison d’être.
In her photographic series La virtud demacrada (2007) and her last video installation Kiss the Fire (2007) —specifically produced for Espacio Iniciarte—, she reflects on love, eroticism and pornography both from nowadays and earlier times by resorting to the History of Art and to contemporary icons from the cinema, Internet or the other side of life.
Cañas creates a baroque, alarmist digital cosmogony, a playful hell made of symbols claiming pornography as a creative language: a world where everything worsens and improves at the same time, keeping our desires and perversions alive by taking as a starting point the intense imaginery, with its evil alarmist spirit and the visionary inspiration of artists like Goya, Fuseli, Caravaggio, Duchamp… and movie scenes that deal with love and death.
In the mists of an apocalyptic landscape of atomic bombs and chaos, a martyr sacrifices himself in the sacred vagina dentata. A tiny man in flames leaps into the void from a giant, feminine, lethal mouth. We all are that miserable little man trying to flee from something terrible and inevitable… These cathartic images belong to Kiss the Fire, an audiovisual witches’ sabbath destined to exorcize our love demons. A love Apocalipsis cross-dressed by cinema. The pieces comprised by this work reflect about this concept, both ambiguous and ubiquitous, that we call Love.
For Cañas, love is schizoid: it splits into lack of affection; it is Devil’s spine, the evil howling El Blues del Fuego.
In February 2005, the Department of Culture of the Andalusian Regional Government launched Iniciarte (Initiative to Support the Creation and Diffusion of Contemporary Art.) Likewise, in order to encourage, give recognition and promote our creators’ artistic background, we set off the Art Activities Prize. The first year’s awards were obtained by María Cañas, Jesús Palomino and Simón Zabell. It was María Cañas who opened the new phase of Santa Lucía’s Church as a venue for events and exhibitions by emergent artists linked to the Iniciarte programme.
The first opening work, Kiss the Fire, is an exclusive production for Espacio Iniciarte where María Cañas presents a video installation made up of:
Kiss the Fire
-Ápse 2'
-Side Apse 2'
-Rose Window 2' 45''
El coro del alma negra ( The Black Soul´s Choir). 4'
El amor es el demonio (Love is the Devil). 4' 30''
More info:

…where animals have ceased being animals…
A site dedicated to THE CULTURE OF RECICLING…
In which you can find solutions to store everything inside you without having you explode or rot…
ANIMALARIO.TV: A strategy of true education of the professional eye…
…and ideal place to make interconnections between things accessible to people…
…where the PORCO ARCHIVE will recycle you, and consider that all objects are equal, usable and reusable…
Its structure expels radiations of…
Don’t get scared, you are in no danger…
…you just are still not ready to possess objects:
Stocks of material of previous existence…
It is here where plagiarism evolves further than nihilism…
All that has been registered in celluloid
Has multiple possibilities of remix…
…there are many versions to history…
…the first step for wealth is desire…
…time improves ideas…
…it is good that something good happens to someone good…
…the voice with which you speak today might not be yours…
…the available resources are inexhaustible and mutate constantly…
…You can endow new life to the material in the ARCHIVES.
if you copy and lift from one,
…if you copy from two and adapt,
…if you copy from three and create...
…images for suspicion…
…un/controlled EXPERIMENTALISM…
…recombination for EVOLUTIONhellip;
…the visitation of television…
…film made without cameras…
If you have a high fidelity complex…
If you stop expecting from real places what they cannot give you and start inventing other options…
If you like to meet strangers and make them your friends…
…live tuned in with your times…
then there is no doubt that…
ANIMALARIO.TV, a place to live,
To murder time
And a place to die some day.
Y un jamón contest. Deadline 17th January 2009
Greetings from Animalario TV!!! (press the Japanese anus and come in)
A place where animals have ceased being animals! A site dedicated to the culture of recycling and appropriationism!
The website is an experimental melting-pot of audiovisual works related to artistic appropriation, mockumentaries, cinema essays, cannibal and pirate art…a space of reflection and fun that promotes cultural exchange, seeks to create a new community of like-minded people, and to offer an exciting chance for collaboration with other artists, theorists, musicians, and anyone interested in the subject. will screen experimental visions and projects that reinterpret the creative subject in the context of the internet., confront the popular fact in Spanish cuisine that “everything can be used from the pig”- from the snout to the tail, together with the modus operandi of numerous creative people working with inter-textuality, appropriation, re-elaboration and the free circulation of information on the internet. This subject is currently culturally explosive - Creative Commons, internet public archives, etc.
Do you feel a fatal attraction for ham and “cultural cybermortadellas”?
If so, then take part in the competition “Y un jamón”. Send to us at your links or your works and videos related to the theme of: “Creative Banditry, Culture of cut ups, Remix, Contradiction, Freshness, Illegal Art, Popular Art…” It’s your interpretation and manipulations of pre-existing ideas and material that we want to see, or even your own creations and unusual visions!
(or if you prefer via snail-mail, let us know!).
The deadline is January 17th 2009, St. Anton’s day. The most nutritious will win a “Spanish ham”.
Furthermore, we offer our web page as a showcase for your proposals and projects through “PorcoArchive”, a platform of collaborative resources and appropriationism which is always on the move. We have room for your audiovisual treasures, cyber-piracy, those suggestive moments that move you…“PorcoArchive” is divided into sections to which you can mail us:
We look forward to seeing your treasures: websites, fakes, urban legends, science fiction, criptozoology, hoaxes. All those signs of the collective unconscious that travel fast mouth to mouth, incite debate and creativity and cheer up our lives.

JANUARY 1 - MARCH 31, 2009

Davis Lisboa, Davis Museum, 2009, methacrylate and vinyl, 7,8 x 7,8 x 7,8 in

Universitat de Barcelona, Fines Arts. Painting. Spain.
Escola Massana. Painting. Barcelona, Spain.
Private conceptual drawing classes with contemporary artist Carlos Fajardo,
(brazilian representant at the Venice Biennale in 1978 and 1993), São Paulo, Brazil.
EBART, Escola Brasileira de Arte. Drawing and Painting. São Paulo, Brazil.
Escola Carlos de Campos. Drawing of Communication. São Paulo, Brazil.

Recognition of the Davis Museum contemporary art collection by
the Museums Department of the Generalitat de Catalunya (Catalan Government).
Barcelona, Spain.
Invited artist for the project for N2 Art Events, N2 Galería, Barcelona, Spain.
Creation, foundation and manegement of the DAVIS MUSEUM.
The Davis Lisboa Mini-Museum of Contemporary Art in Barcelona.
Reproduction of the painting Hybrid-phylacterium on the cover of Christine Bell's book
On the Law of Peace: Peace Agreements and the Lex Pacificatoria.
Oxford University Press, 2008.
Participation in the Asperger: Interior Magazine, directed by Lorena Dorta.
CASM, Centre d'Art Santa Mònica. Barcelona, Spain.
Artworks for sale in Galería Artnobel. Barcelona, Spain.
Member of the APIC, Associació Professional d'Il·lustradors de Catalunya. Barcelona, Spain.
Artworks for sale in the Galería Artevistas. Barcelona, Spain.
Worked as actor in Un amor de Terry, videoart directed by Telmo Moreno.
Museu Comarcal del Montsià. Amposta, Spain.
Artworks for sale in the Galeria San Vicente 31. Seville, Spain.
Artworks for sale in the Galeria Paspartú. Barcelona, Spain.
Artworks for sale in the Galeria espai [b]. Barcelona, Spain.
Participation in the instalation Aparador col·lectivitzat, directed by Pep Dardanyà. Fundación Obra Social Caja de Madrid. Barcelona, Spain.
Collaborations to CASM's newslleters. Centre d'Art Santa Mònica. Barcelona, Spain.
Artworks for sale in the Galería Kunsthaus 414. Barcelona, Spain.
Artworks for sale in the Galería Gaudí. Madrid, Spain.
Member of the AAVC, Associació d'Artistes Visuals de Catalunya.
Barcelona, Spain.
Worked as webmaster. Oscar's Studio. Barcelona, Spain.
Obtains the Hispanic-Brazilian nationality.
Worked as freelance illustrator and artistic painter. Barcelona, Spain.
Worked as illustrator. Estudi de Disseny ACR. Barcelona, Spain.
Moved to live in Barcelona, Spain.
Worked as illustrator. Publigrafs Publicidade. São Paulo, Brazil.
Worked as illustrator. FCB Siboney Publicidade. São Paulo, Brazil.
Worked as illustrator. CBBA Publicidade. São Paulo, Brazil.
Worked as illustrator. Sempre Propaganda S.A.. São Paulo, Brazil.
Born in São Paulo, Brazil.

Hybrid-visiolibri. La Cova de les Cultures, Barcelona, Spain.
Hybrid-farrago. Sala de Arte Alteroutlet, Barcelona, Spain.
Davis Museum: Exhibition of the permanent collection of contemporary art by Davis Museum,
MKAC, Museo Karura Art Centre. Second Life.
Què hem de fer amb l'art dels nou vinguts?. Centre Cultural Riera Blanca. Barcelona, Spain.
BMW by Davis. BMW Ibérica, Madrid, Spain.
BMW by Davis. BMW Cano Catalunya. Sant Cugat, Spain.
BMW by Davis. Performance and exhibition. BMW Cano Catalunya, Barcelona, Spain.
Locus quod Filiolus. Galería San Vicente 31, Seville, Spain.
Locus quod Filiolus. Fine Arts, University of Barcelona. Spain.
12 Autoretrats. Fine Arts, University of Barcelona. Spain.
Firasse. Galeria Art Brut. São Paulo, Brazil.

A Book About Death. SAL Art Gallery, CW Post Campus of Long Island University,
Brookville, NY, USA.
HomeMade. A group video show curated by Stéphani Hab and Irene Pomar.
Davis Museum. Barcelona, Spain.
A Book About Death. MOMA Wales - Museum of Modern Art, Machynlleth, Wales, UK.
A Book About Death. MuBE - Museu Brasileiro da Escultura. São Paulo, Brazil.
Els Colors del Foc. Centre Cívic Parc-Sandaru. Barcelona, Spain.
XXI Equus Catalonia. Galería Artnobel. Barcelona, Spain.
Digital Art Expo International. LACDA, Los Angeles Center for Digital Arts, USA.
Moda Ilustrada. Galeria Olido, São Paulo, Brazil.
Barris Creatius, Energia Barcelona. Ajuntament de Barcelona, Spain.
Sketch it Out!. APW Gallery. New York, USA.
Mi Torito Pucará. Galeria Artevistas. Albi, Toulouse, France.
FAIM 2008. Feria de Arte indenpendiente de Madrid, Spain.
Asperger: Interior Magazine, directed by Lorena Dorta.
CASM, Centre d'Art Santa Mònica. Barcelona, Spain.
Muzeum Swiatowej Ilustracji. Bibliotece Glowinski. Olesnica, Poland.
Mi Torito Pucará. Galeria Artevistas. Barcelona, Spain.
Sentidos. Galeria Cristina Costa. Famalicão, Portugal.
Sketchbooks!. Galeria Pop. São Paulo, Brazil.
Galeria Artevistas. Barcelona, Spain.
Night of 1,000 Drawings. Artists Space, New York, USA.
VI Biennale Internazionale dell'Arte Contemporanea di Firenze. Italy.
Museu de Arte do Parlamento de São Paulo. Brazil.
Galeria Paspartú. Barcelona, Spain.
Galeria espai [b]. Barcelona, Spain.
Marb Art. II International Exhibition of Contemporary Art in Marbella. Spain.
Galeria Paspartú, Barcelona, Spain.
Miedzynarodowy Projekt, Art for Chelmek. Galerii Epicentrum.
Miejskiego Osrodka Kultury Sportu i Rekreacji w Chelmku.
Chelmek, Poland.
Puro Arte International Art Fair, Vigo, Spain.
Holland Art Fair. The Hague, Holand.
Galería Gaudí. Madrid, Spain.
Sala Jaume Busquet. Escola Massana. Barcelona, Spain.
Wonder. Sala Jaume Busquet. Escola Massana. Barcelona, Spain.
Galeria Art Brut. São Paulo, Brazil.
Associação de Artistas Plásticos da Colagem. São Paulo, Brazil.

Institut Ramon Llull. Barcelona, Spain.

Museo Karura Art Centre (MKAC). Second Life.

BMW (Dommo ), Cacique (Doubleyou), Correos (Draft), Cruz Campo (Ogilvy),
Daikin (Draft), Electrolux (Doubleyou), Heinz (SoloAD), La Vanguardia (Igriega),
Oxford University (OUP), Samsung (FCB/Tapsa), San Miguel (Red 032), Unilever (Draft),
Villarrosàs (Estrella Damm), Volkswagen (DDB), etc.

SAL Art Gallery, CW Post Campus of Long Island University,
Brookville, NY, USA
FluxMuseum, Texas, USA
MOMA Wales, Museum of Modern Art, Machynlleth, Wales, UK.
MuBE - Museu Brasileiro da Escultura. São Paulo, Brasil.
Evelina Podjapolskaja Collection. Barcelona, Spain.
Museo Karura Art Centre (MKAC). Second Life.
LACDA, Los Angeles Center for Digital Arts, USA.
Maite Alonso Romero Collection. Barcelona, Spain.
Muzeum Swiatowej Ilustracji. Bibliotece Glowinski. Olesnica, Poland.
Accensi-Pinacho Collection. Barcelona, Spain.
Artists Space. New York, USA.
Museu de Arte do Parlamento de São Paulo. Brazil.
BMW Ibérica Collection. Madrid, Spain.
JBM Collection. Barcelona, Spain.
Galerii Epicentrum, Miejskiego Osrodka Kultury Sportu i Rekreacji w Chelmku, Chelmek, Poland.