Author Archives: carolinacaycedo
Patron Mono, 2018
Patron Mono, 2018 From the Water Portrait Series / De la serie Retratos del Agua 3 canales /3 channels, HD Video 4.32 min, color, sin sonido / no sound Patron Mono portrays the lower Cauca river canyon, located in the
Patron Mono, 2018
Patron Mono, 2018 From the Water Portrait Series / De la serie Retratos del Agua 3 canales /3 channels, HD Video 4.32 min, color, sin sonido / no sound Patron Mono portrays the lower Cauca river canyon, located in the
To Stop Being a Threat and To Become a Promise / Dejar de ser una amenaza para convertirse en promesa.
To Stop Being a Threat and To Become a Promise, 2017 2 channel HD Video, color and sound 8:03 min Cinematography and Edition / Fotografía y Edición: Carolina Caycedo Sound: Daniel Correa Tejiendo imágenes de hidrografías diversas como los ríos Colorado,
To Stop Being a Threat and To Become a Promise / Dejar de ser una amenaza para convertirse en promesa.
To Stop Being a Threat and To Become a Promise, 2017 2 channel HD Video, color and sound 8:03 min Cinematography and Edition / Fotografía y Edición: Carolina Caycedo Sound: Daniel Correa Tejiendo imágenes de hidrografías diversas como los ríos Colorado,
Serpent River Book
Serpent River Book, 2017 Carolina Caycedo. Artist Book, 72 page accordion fold, offset, printed canvas hardcover, elastic band Numbered edition of 250 22 x 31 x 3.5 cm (closed) Serpent River Book is a 72 page accordion fold artist-book, that
Serpent River Book
Serpent River Book, 2017 Carolina Caycedo. Artist Book, 72 page accordion fold, offset, printed canvas hardcover, elastic band Numbered edition of 250 22 x 31 x 3.5 cm (closed) Serpent River Book is a 72 page accordion fold artist-book, that
Geneology of a Struggle, 2017
Install View , Almost There, Vargas Museum. 2016 was the most dangerous year on record for environmental defenders. More than half of those killed came from just three countries, Brazil, Philippines, and Colombia (where I grew). All are home to
Geneology of a Struggle, 2017
Install View , Almost There, Vargas Museum. 2016 was the most dangerous year on record for environmental defenders. More than half of those killed came from just three countries, Brazil, Philippines, and Colombia (where I grew). All are home to
A Gente Rio (We River), 2016
Installation view at 32nd São Paulo Biennial A Gente Rio [The People River] (2016), is based on the Itaipu Dam, the second largest hydroelectric plant in the world, and whose process of land expropriation was a catalyst for
A Gente Rio (We River), 2016
Installation view at 32nd São Paulo Biennial A Gente Rio [The People River] (2016), is based on the Itaipu Dam, the second largest hydroelectric plant in the world, and whose process of land expropriation was a catalyst for
Águas Para A Vida, 2016
A un año de impunidad del crimen socio-ambiental cometido por Samarco (Vale/BHP Billiton), hacemos un llamado “Aguas Para la Vida, No Para La Muerte” en solidaridad con las comunidades afectadas del Rio Doce en Brasil. Um ano de impunidade no
Águas Para A Vida, 2016
A un año de impunidad del crimen socio-ambiental cometido por Samarco (Vale/BHP Billiton), hacemos un llamado “Aguas Para la Vida, No Para La Muerte” en solidaridad con las comunidades afectadas del Rio Doce en Brasil. Um ano de impunidade no
Cosmotarrayas / Comotarrafas / series, 2016
Installation view at 32nd São Paulo Biennial Installation view at 32nd São Paulo Biennial. The Cosmotarrayas are a series of hanging sculptures assembled with handmade fishing nets and other objects, collected during my field research in different riverine
Cosmotarrayas / Comotarrafas / series, 2016
Installation view at 32nd São Paulo Biennial Installation view at 32nd São Paulo Biennial. The Cosmotarrayas are a series of hanging sculptures assembled with handmade fishing nets and other objects, collected during my field research in different riverine
River Books / Libros Río, 2016
Installation view at 32nd São Paulo Biennial These hand drawn books have an accordion format and are handbound by the artist. They interpret indigenous rituals and myths of rivers in dispute. The riverbed is used as the central element
River Books / Libros Río, 2016
Installation view at 32nd São Paulo Biennial These hand drawn books have an accordion format and are handbound by the artist. They interpret indigenous rituals and myths of rivers in dispute. The riverbed is used as the central element
Water Portraits, 2016
Installation view, El Origen de la Noche, National University Bogotá The image of flowing water unfolds, transforms , mutates until it constitutes a new disposition which looks back and speaks to us. These new configurations of rivers
Water Portraits, 2016
Installation view, El Origen de la Noche, National University Bogotá The image of flowing water unfolds, transforms , mutates until it constitutes a new disposition which looks back and speaks to us. These new configurations of rivers
Beyond Control / Mas Alla del Control, 2013-2016
Performers: Claudia Salamanca, Diego Fletcher, María Leubro, Andres Uribe, Carolina Caycedo and Jorge Caycedo. The choreographed movements of Beyond Control are constructed from visual and theoretical relationships that exist between the construction of dams, the containment of bodies of
Beyond Control / Mas Alla del Control, 2013-2016
Performers: Claudia Salamanca, Diego Fletcher, María Leubro, Andres Uribe, Carolina Caycedo and Jorge Caycedo. The choreographed movements of Beyond Control are constructed from visual and theoretical relationships that exist between the construction of dams, the containment of bodies of
ATARRAYA, 2015-2017
Performance with Rios Vivos , 2o Coloquio LatinoAmericano de Arte No Objetual y Arte Rural, MAMM, Medellin, Marzo 2017 Image courtesy Cisneros Collection ATARRAYA. Performance. Caracas, Oct 16 2015. In the environmental social movements of the
ATARRAYA, 2015-2017
Performance with Rios Vivos , 2o Coloquio LatinoAmericano de Arte No Objetual y Arte Rural, MAMM, Medellin, Marzo 2017 Image courtesy Cisneros Collection ATARRAYA. Performance. Caracas, Oct 16 2015. In the environmental social movements of the
Dam Knot Anus, 2016
Dam Knot Anus, 2016 300 Posters, digital print on bond paper. 22 x 34 inches Original drawing: graphite on paper. The poster uses a quote taken from an interview done to Mamo Pedro Juan, of a Colombian Kogui Shaman
Dam Knot Anus, 2016
Dam Knot Anus, 2016 300 Posters, digital print on bond paper. 22 x 34 inches Original drawing: graphite on paper. The poster uses a quote taken from an interview done to Mamo Pedro Juan, of a Colombian Kogui Shaman
Yuma Se Come A Bolivar, 2016
Yuma se Come A Bolivar. On Saturday, September 19, 2015 people in solidarity with communities affected by dams in Colombia, met in Bolivar Plaza de Bacatá to write with our bodies the word YUMA, the ancestral name of our Magdalena
Yuma Se Come A Bolivar, 2016
Yuma se Come A Bolivar. On Saturday, September 19, 2015 people in solidarity with communities affected by dams in Colombia, met in Bolivar Plaza de Bacatá to write with our bodies the word YUMA, the ancestral name of our Magdalena
GEOCHOREOGRAPHIES
G E O C H O R E O G R A P H I E S Communities along the Magdalena river affected by el Quimbo dam in Southern Colombia struggle to remain closely knit as a collective body,
GEOCHOREOGRAPHIES
G E O C H O R E O G R A P H I E S Communities along the Magdalena river affected by el Quimbo dam in Southern Colombia struggle to remain closely knit as a collective body,
This Is Not Water / Esto No Es Agua, 2015
video stills Esto No Es Agua / This Is Not Water, 2015 1 channel video HD, Sound and Color Sound by: Daniel Pineda 5’20’’ “This Is Not Water” is the first of a series of short videos that the
This Is Not Water / Esto No Es Agua, 2015
video stills Esto No Es Agua / This Is Not Water, 2015 1 channel video HD, Sound and Color Sound by: Daniel Pineda 5’20’’ “This Is Not Water” is the first of a series of short videos that the
GEOCHOREOGRAPHY ORITOGUAZ, 2015
Images courtesy of Descolonizando La Jagua GEOCHOREOGRAPHY ORITOGUAZ Yuma River, Huila/Colombia. On Sunday 13 September, 2015, about 250 guardians and defenders of the territory met in the Puerta del Sol Beach on the Yuma (Magdalena) River in Oritoguaz, Huila-Colombia;
GEOCHOREOGRAPHY ORITOGUAZ, 2015
Images courtesy of Descolonizando La Jagua GEOCHOREOGRAPHY ORITOGUAZ Yuma River, Huila/Colombia. On Sunday 13 September, 2015, about 250 guardians and defenders of the territory met in the Puerta del Sol Beach on the Yuma (Magdalena) River in Oritoguaz, Huila-Colombia;
HUMANITARIAN AID FOR THE FIRST WORLD, 2015
HUMANITARIAN AID FOR THE FIRST WORLD With Colectivo Cambalache Nuit Blanche Toronto, 2015 Do you believe in the solidarity of bartering? With the desire to overturn the concept and practice of humanitarian aid and offer a southern perspective on “disaster
HUMANITARIAN AID FOR THE FIRST WORLD, 2015
HUMANITARIAN AID FOR THE FIRST WORLD With Colectivo Cambalache Nuit Blanche Toronto, 2015 Do you believe in the solidarity of bartering? With the desire to overturn the concept and practice of humanitarian aid and offer a southern perspective on “disaster
Land of Friends, 2014
Land of Friends, 2014 1 channel HD video Sound and Color, 38’10” LAND OF FRIENDS, 2014 In order of appearance: Entre Aguas Founder member of Jaguos por el Territorio collective-La Jagua. Member of Beehive Collective and Polinizaciones. Yuma (Magdalena
Land of Friends, 2014
Land of Friends, 2014 1 channel HD video Sound and Color, 38’10” LAND OF FRIENDS, 2014 In order of appearance: Entre Aguas Founder member of Jaguos por el Territorio collective-La Jagua. Member of Beehive Collective and Polinizaciones. Yuma (Magdalena
YUMA, or the Land of Friends, 2014
YUMA, or the Land of Friends, 2014 Digital prints on glass, satellite images. Mural: 580×473 cm (46 pieces: 20 pieces 100×100 cm; 10 pieces 100×35 cm; 8 pieces 40×100 cm; 8 pieces 40×35 cm) YUMA, or the Land of
YUMA, or the Land of Friends, 2014
YUMA, or the Land of Friends, 2014 Digital prints on glass, satellite images. Mural: 580×473 cm (46 pieces: 20 pieces 100×100 cm; 10 pieces 100×35 cm; 8 pieces 40×100 cm; 8 pieces 40×35 cm) YUMA, or the Land of
Trampled Landscape, 2014
Trampled Landscape, 2014 Carolina Caycedo’s work is primarily focused on modes of practical resistance and how these can be brought into the space of art. Her installations and public interventions range from banners proclaiming feminist slogans to discussion spaces and
Trampled Landscape, 2014
Trampled Landscape, 2014 Carolina Caycedo’s work is primarily focused on modes of practical resistance and how these can be brought into the space of art. Her installations and public interventions range from banners proclaiming feminist slogans to discussion spaces and
Huila’s Bleeding, 2014
Huila’s Bleeding Carolina Caycedo and Entre Aguas. HD Video, 12 Min In southwest Colombia, rural communities have begun using direct action in their struggle against the privatization of natural resources by multinational corporations. This video, by the artists Carolina Caycedo
Huila’s Bleeding, 2014
Huila’s Bleeding Carolina Caycedo and Entre Aguas. HD Video, 12 Min In southwest Colombia, rural communities have begun using direct action in their struggle against the privatization of natural resources by multinational corporations. This video, by the artists Carolina Caycedo
ONE BODY OF WATER, 2014
ONE BODY OF WATER Performance Bowtie Project. Los Angeles. June 13th, 2015. One Body of Water is a new performance by artist Carolina Caycedo, developed in response to the Bowtie Parcel. One Body of Water intertwines the stories of three
ONE BODY OF WATER, 2014
ONE BODY OF WATER Performance Bowtie Project. Los Angeles. June 13th, 2015. One Body of Water is a new performance by artist Carolina Caycedo, developed in response to the Bowtie Parcel. One Body of Water intertwines the stories of three
Expanding the River, 2014
Expanding the River, 2014 Workshop and Satellite Image Wight Gallery, UCLA EXPANDING THE RIVER WORKSHOP SERIES Using the work of art as a pedagogical tool and transforming the gallery into a temporary working space, satellite images of the construction of
Expanding the River, 2014
Expanding the River, 2014 Workshop and Satellite Image Wight Gallery, UCLA EXPANDING THE RIVER WORKSHOP SERIES Using the work of art as a pedagogical tool and transforming the gallery into a temporary working space, satellite images of the construction of
BE DAMMED (ongoing Project)
BE DAMMED (ongoing Project) In Indigenous cosmogonies of the Americas, all bodies of waters are connected. Rivers are the veins of the planet, their waters associate communities and ecosystems. Be Dammed investigates the effects that large dams have on
BE DAMMED (ongoing Project)
BE DAMMED (ongoing Project) In Indigenous cosmogonies of the Americas, all bodies of waters are connected. Rivers are the veins of the planet, their waters associate communities and ecosystems. Be Dammed investigates the effects that large dams have on
Three Arched Knuckle, 2013
Three Arched Knuckle, 2013 Concrete and pigment, dypthyp 33×22,8×7 cm; 34x22x7 cm
Three Arched Knuckle, 2013
Three Arched Knuckle, 2013 Concrete and pigment, dypthyp 33×22,8×7 cm; 34x22x7 cm
Dammed Landscape, 2013
Dammed Landscape, 2013 Dyptych photographs encapsulated in aluminum and matt plexiglass, mounted on concrete blocks. 110x85x40 cm (each)
Dammed Landscape, 2013
Dammed Landscape, 2013 Dyptych photographs encapsulated in aluminum and matt plexiglass, mounted on concrete blocks. 110x85x40 cm (each)
Spaniards Named Her Magdalena, But Natives Call Her Yuma, 2013
Spaniards Named Her Magdalena, But Natives Call Her Yuma, 2013 2 channel HD video installation Sound and Color, 27’ Spaniards Named Her Magdalena, But Natives Call Her Yuma, 2013 Artworks in Be Dammed examine the interconnected spheres of legal,
Spaniards Named Her Magdalena, But Natives Call Her Yuma, 2013
Spaniards Named Her Magdalena, But Natives Call Her Yuma, 2013 2 channel HD video installation Sound and Color, 27’ Spaniards Named Her Magdalena, But Natives Call Her Yuma, 2013 Artworks in Be Dammed examine the interconnected spheres of legal,
The headlong stream is termed violent But the river bed hemming it in Is termed violent by no one, 2013
The headlong stream is termed violent But the river bed hemming it in Is termed violent by no one, 2013 DAAD Galery, Berlin. Germany. 2013 Carolina Caycedo is taking the resistance against the »El Quimbo« dam construction project in
The headlong stream is termed violent But the river bed hemming it in Is termed violent by no one, 2013
The headlong stream is termed violent But the river bed hemming it in Is termed violent by no one, 2013 DAAD Galery, Berlin. Germany. 2013 Carolina Caycedo is taking the resistance against the »El Quimbo« dam construction project in
Less than Lethal, 2013
Inkjet over silk paper. 156 x 110 cm MACO, Mexico. 2013 The title refers to weapons used by police for crowd controlling, like rubber bullets, water canons, deafening sounds, batons, electric teasers and pepper spray. The function for less
Less than Lethal, 2013
Inkjet over silk paper. 156 x 110 cm MACO, Mexico. 2013 The title refers to weapons used by police for crowd controlling, like rubber bullets, water canons, deafening sounds, batons, electric teasers and pepper spray. The function for less
We have all the ingredients, 2012
WE HAVE ALL THE INGREDIENTS, 2012. Performance – Demonstration. Written script, HeLa cells, microscope, telescope, tea. We have all the ingredients SFMOMA, 2012 In two movements, Carolina Caycedo invites us to explore the inner and outer spaces of
We have all the ingredients, 2012
WE HAVE ALL THE INGREDIENTS, 2012. Performance – Demonstration. Written script, HeLa cells, microscope, telescope, tea. We have all the ingredients SFMOMA, 2012 In two movements, Carolina Caycedo invites us to explore the inner and outer spaces of
Humane materiale, 2013
Installation view at Dispari & Dispari Installation view at Dispari & Dispari Made in collaboration with several local craftswomen and craftsmen, Humane Materiale II, is a video installation about contemporary and traditional crafts by Carolina
Humane materiale, 2013
Installation view at Dispari & Dispari Installation view at Dispari & Dispari Made in collaboration with several local craftswomen and craftsmen, Humane Materiale II, is a video installation about contemporary and traditional crafts by Carolina
Costo sentimental, 2012
Isla Car 33 x 24 cm Costo sentimental (collages and photo-montages) La Central, 2012. Dispara Redes, 2012 29,7 x 28,4 cm Mi Primera Rayada 19 x 21,4 cm La Rebelión 46 x 32,5 cm No Fio
Costo sentimental, 2012
Isla Car 33 x 24 cm Costo sentimental (collages and photo-montages) La Central, 2012. Dispara Redes, 2012 29,7 x 28,4 cm Mi Primera Rayada 19 x 21,4 cm La Rebelión 46 x 32,5 cm No Fio
Dependency / Dependencia (currency insertions), 2012
DEPENDENCY 1, 2012 (Installation view) Ink on Banknote. 6 stamps, 6 Banknotes. Shelf and Inkpad. 50 X 70 cm. Dependency / Dependencia (currency insertions), 2012. The current values of the minimum monthly wage, of a cocaine gram, and of
Dependency / Dependencia (currency insertions), 2012
DEPENDENCY 1, 2012 (Installation view) Ink on Banknote. 6 stamps, 6 Banknotes. Shelf and Inkpad. 50 X 70 cm. Dependency / Dependencia (currency insertions), 2012. The current values of the minimum monthly wage, of a cocaine gram, and of
Criminal women, ongoing. 2012
LEILA KAHLED, 2001. (From the CRIMINAL WOMEN Drawing Series). Pen, pencil, and marker over paper. 29.7 x 21 cm. Criminal women, ongoing. Frieze Frame, 2012. CRIMINAL WOMEN is an ongoing series of drawings that portray women who have been
Criminal women, ongoing. 2012
LEILA KAHLED, 2001. (From the CRIMINAL WOMEN Drawing Series). Pen, pencil, and marker over paper. 29.7 x 21 cm. Criminal women, ongoing. Frieze Frame, 2012. CRIMINAL WOMEN is an ongoing series of drawings that portray women who have been
Foyer d’outre-mer, 2012
FOYER D’OUTRE-MER, 2011. (Detail) Installation. 2 color printed mirrors. 250 x 90 cm each. Foyer d’outre-mer. Paris Triennial, 2012. In response to La Triennale, the artist proposes to develop the work Foyer D’outre-mer, a project in which she explores
Foyer d’outre-mer, 2012
FOYER D’OUTRE-MER, 2011. (Detail) Installation. 2 color printed mirrors. 250 x 90 cm each. Foyer d’outre-mer. Paris Triennial, 2012. In response to La Triennale, the artist proposes to develop the work Foyer D’outre-mer, a project in which she explores
Por la fuerza no sirve, 2011
POR LA FUERZA NO SIRVE, 2011. Dyptic. Embossed mirrors. 50 x 70 cm each
Por la fuerza no sirve, 2011
POR LA FUERZA NO SIRVE, 2011. Dyptic. Embossed mirrors. 50 x 70 cm each
Aguasucia, 2011
AGUASUCIA, 2011. Installation and performance. 31 aguardiente bottles stuffed with 107 notes of COP$5000 denomination. (2011 Colombian minimum wage: COP$535.000 – aprox. $300). A 2011 Colombian minimum wage is soaked in 31 bottles of Aguardiente liquor. Aguardiente
Aguasucia, 2011
AGUASUCIA, 2011. Installation and performance. 31 aguardiente bottles stuffed with 107 notes of COP$5000 denomination. (2011 Colombian minimum wage: COP$535.000 – aprox. $300). A 2011 Colombian minimum wage is soaked in 31 bottles of Aguardiente liquor. Aguardiente
Offerings, 2011
OFFERINGS, 2011. Urban Intervention. 1000 screen printed candles / 12 designs and printed program booklets / 16 pages. 2009 Creative Time Summit: Revolutions in Public Practice Offerings Living as Form-Creative Time, NYC 2011. A collaboration with members of
Offerings, 2011
OFFERINGS, 2011. Urban Intervention. 1000 screen printed candles / 12 designs and printed program booklets / 16 pages. 2009 Creative Time Summit: Revolutions in Public Practice Offerings Living as Form-Creative Time, NYC 2011. A collaboration with members of
Blessings, 2011
Blessings, 2011. Installation. 5 Neon lights mounted on clear acrylic, motion sensor. 12 x 40 in. each. Blessings Living as Form-Creative Time, NYC 2011. The word Blessings is displayed in the windows of the historic Essex Street Market, written
Blessings, 2011
Blessings, 2011. Installation. 5 Neon lights mounted on clear acrylic, motion sensor. 12 x 40 in. each. Blessings Living as Form-Creative Time, NYC 2011. The word Blessings is displayed in the windows of the historic Essex Street Market, written
Rule and excpetion, 2011
RULE AND EXCEPTION, 2011. With David de Rozas. DV. 2’. Color Human emotional manifestations are present in any transportation station. The before and the after, the departure and the arrival, the greeting and the farewell, sorrow and happiness, the
Rule and excpetion, 2011
RULE AND EXCEPTION, 2011. With David de Rozas. DV. 2’. Color Human emotional manifestations are present in any transportation station. The before and the after, the departure and the arrival, the greeting and the farewell, sorrow and happiness, the
Caminemos junt@s, 2010
Caminemos junt@s MUSAC, Leon. Spain. 2010. Workshop. Oct 2010. A tent constructed with clothes donated by inhabitants of Leon was built during a collective workshop. The tent was decorated with emancipation messages from the participants. Caminemos junt@s.
Caminemos junt@s, 2010
Caminemos junt@s MUSAC, Leon. Spain. 2010. Workshop. Oct 2010. A tent constructed with clothes donated by inhabitants of Leon was built during a collective workshop. The tent was decorated with emancipation messages from the participants. Caminemos junt@s.
In transito, 2010
In transito Serralves. Porto, Portugal. 2010 A COLLABORATION WITH: Gisela Díaz, Hajime Fujita, Lorenzo Martinelli, Claudia Mel, Igor Vasconcelos. This project consists of a series of phrases installed in and around the staircase between floor 3 and
In transito, 2010
In transito Serralves. Porto, Portugal. 2010 A COLLABORATION WITH: Gisela Díaz, Hajime Fujita, Lorenzo Martinelli, Claudia Mel, Igor Vasconcelos. This project consists of a series of phrases installed in and around the staircase between floor 3 and
La stargate, 2010
La stargate Intermediae. Madrid, Spain. 2010. Soundscapes, dialogues, interviews and music comprise La Stargate, a project by Carolina Caycedo offering a sound journey through the Legazpi neighbourhood. Last spring, the artist began a set of routes to explore Legazpi
La stargate, 2010
La stargate Intermediae. Madrid, Spain. 2010. Soundscapes, dialogues, interviews and music comprise La Stargate, a project by Carolina Caycedo offering a sound journey through the Legazpi neighbourhood. Last spring, the artist began a set of routes to explore Legazpi
Open dj nights, 2010
Open dj nights Bar Cucaramacara. Madrid, Spain. 2010. In Puerto Rico every bar has its “vellonera”. That’s what they call jukeboxes, because people used to puts coins in them to play a song. The praxis of the “vellonera” fascinates
Open dj nights, 2010
Open dj nights Bar Cucaramacara. Madrid, Spain. 2010. In Puerto Rico every bar has its “vellonera”. That’s what they call jukeboxes, because people used to puts coins in them to play a song. The praxis of the “vellonera” fascinates
Global outfit, 2010
GLOBAL OUTFIT. Outfit Exchange. One channel Video. 1 minute, sound and color. Cairo, Egypt. 2010.
Global outfit, 2010
GLOBAL OUTFIT. Outfit Exchange. One channel Video. 1 minute, sound and color. Cairo, Egypt. 2010.
Mujeres en mi, 2010
MUJERES EN MI 4 clothes panels. 12 x 6 feet each. Clothes and embroidery. Mujeres en mi Solo projects ARCO. Madrid, Spain . 2010. A collection of clothes of the women in my family and contemporary Latin American and
Mujeres en mi, 2010
MUJERES EN MI 4 clothes panels. 12 x 6 feet each. Clothes and embroidery. Mujeres en mi Solo projects ARCO. Madrid, Spain . 2010. A collection of clothes of the women in my family and contemporary Latin American and
Swarm, 2010
SWARM Recycled clothes, Rope, Metal hooks, yoga mats. SWARM: 1. Colony, large number of birds, insects, etc. moving about together. 2. Places being overrun or crowded. 3. Climb by clinging with arms and legs. SWARM: 1. Colony, large number
Swarm, 2010
SWARM Recycled clothes, Rope, Metal hooks, yoga mats. SWARM: 1. Colony, large number of birds, insects, etc. moving about together. 2. Places being overrun or crowded. 3. Climb by clinging with arms and legs. SWARM: 1. Colony, large number
Banner series, 2010
BANNER SERIES Nylon Banners. 18 x 3 feet. 2010 These banners bear personal and adopted statements that reflect my own social, political, economical and feminine ethics and beliefs. They can also be read and used as invitations
Banner series, 2010
BANNER SERIES Nylon Banners. 18 x 3 feet. 2010 These banners bear personal and adopted statements that reflect my own social, political, economical and feminine ethics and beliefs. They can also be read and used as invitations
Flag series, 2009
Flag series 2009 Each flag combines two flags of different countries. Some mix flags of the places I originate and live (UK/Colombia, Puerto Rico/Colombia). Others mix flags of cultures in tension (US/Iraq; Israel/Palestine, US/Mexico, UK/Ireland, Israel/Lebanon, Greece/Turkey/Cyprus, Greece/Albania
Flag series, 2009
Flag series 2009 Each flag combines two flags of different countries. Some mix flags of the places I originate and live (UK/Colombia, Puerto Rico/Colombia). Others mix flags of cultures in tension (US/Iraq; Israel/Palestine, US/Mexico, UK/Ireland, Israel/Lebanon, Greece/Turkey/Cyprus, Greece/Albania
Resiste, 2009
RESISTE Performance and Vinilflag. 10 X 6 FEET. 2009. The altered Venezuelan flag served as a parangolé and a vehicle for experimentation. Exhibition visitors were taken by surprise and invited to wear the paragole with me. The piece
Resiste, 2009
RESISTE Performance and Vinilflag. 10 X 6 FEET. 2009. The altered Venezuelan flag served as a parangolé and a vehicle for experimentation. Exhibition visitors were taken by surprise and invited to wear the paragole with me. The piece
Day to day closure, 2009
Day to day closure Frieze Projects. London, UK. 2009 DAYTODAY CLOSURE. 100 Books, Exchanges. I bartered 100 daytoday books during frieze Fair. The book served as a compilation of the last 7 daytoday barter years. Peole
Day to day closure, 2009
Day to day closure Frieze Projects. London, UK. 2009 DAYTODAY CLOSURE. 100 Books, Exchanges. I bartered 100 daytoday books during frieze Fair. The book served as a compilation of the last 7 daytoday barter years. Peole
Day to day, 2002-2009
DAYTODAY FLYER. LOS ANGELES, 2009. DAYTODAY VIENNA, 2002. DAYTODAY was a personal barter network that spanned over 7 years (2002-2009). Through an online site I offered all kind of services and objects in exchange for things I
Day to day, 2002-2009
DAYTODAY FLYER. LOS ANGELES, 2009. DAYTODAY VIENNA, 2002. DAYTODAY was a personal barter network that spanned over 7 years (2002-2009). Through an online site I offered all kind of services and objects in exchange for things I
Time Bank notes, 2009
Time Bank notes E-Flux. London, UK. 2009 Intervened Bank Notes, Different countries.
Time Bank notes, 2009
Time Bank notes E-Flux. London, UK. 2009 Intervened Bank Notes, Different countries.
Almanaque Marc Emery, 2009
Almanaque Marc Emery, 2009 Descarga aqui, download here: Almanaque Marc Emery
Almanaque Marc Emery, 2009
Almanaque Marc Emery, 2009 Descarga aqui, download here: Almanaque Marc Emery
En caso de emergencia, 2008
IN CASE OF EMERGENCY 10 Steel Machetes with wooden handle and laser inscriptions on each side 70 X 6 X 2 cm each. Installation dimensions variable. 2008 ‘En caso de Emergencia’ is an installation comprising 10 red machetes. Each
En caso de emergencia, 2008
IN CASE OF EMERGENCY 10 Steel Machetes with wooden handle and laser inscriptions on each side 70 X 6 X 2 cm each. Installation dimensions variable. 2008 ‘En caso de Emergencia’ is an installation comprising 10 red machetes. Each
Plante bandera, 2007
PLANTE BANDERA DVD. 18’25 min. Sound and Color. 2007 PLANTE BANDERA (I Planted the Flag) reconstructs the act of swimming from shore to shore. It refers to a hypothetical experience of crossing borders and claiming a territory by
Plante bandera, 2007
PLANTE BANDERA DVD. 18’25 min. Sound and Color. 2007 PLANTE BANDERA (I Planted the Flag) reconstructs the act of swimming from shore to shore. It refers to a hypothetical experience of crossing borders and claiming a territory by
La machetera, 2006
LOCAL MOTION (LA MACHETERA) WALL JUKEBOX WITH 50 CDS Dimensions Variable 2006 This jukebox is a musical self-portrait. CDs are arranged chronologically and geographically, including all the cities I have lived in and some that I have visited
La machetera, 2006
LOCAL MOTION (LA MACHETERA) WALL JUKEBOX WITH 50 CDS Dimensions Variable 2006 This jukebox is a musical self-portrait. CDs are arranged chronologically and geographically, including all the cities I have lived in and some that I have visited
Solo under, 2005-2006
SOLO UNDER Coin operated jukebox with 100 reggaeton CDs 2005-2006 Before hitting the mainstream pop charts, reggaeton was a local Puerto Rican genre called underground. It started back in 1990 and each year, since then, an average of 90
Solo under, 2005-2006
SOLO UNDER Coin operated jukebox with 100 reggaeton CDs 2005-2006 Before hitting the mainstream pop charts, reggaeton was a local Puerto Rican genre called underground. It started back in 1990 and each year, since then, an average of 90
Gran perreton, 2004
GRAN PERRETON DVD. 15 min. Sound and color. 2005. Dance competition. Rincón, 2004. Perretón is a combination of words: Reggaeton, perreo and marathon. Reggaeton is a popular genre that comes from Puerto Rico, and combines Rap, reggae and
Gran perreton, 2004
GRAN PERRETON DVD. 15 min. Sound and color. 2005. Dance competition. Rincón, 2004. Perretón is a combination of words: Reggaeton, perreo and marathon. Reggaeton is a popular genre that comes from Puerto Rico, and combines Rap, reggae and
How to obtain a british passport, 2003
HOW TO OBTAIN A BRITISH PASSPORT With Javier Mancera. Book. DVD. 22 min. Color-sound. London, 2003. This video shows real and fake-acted footage, in a narrative way that depicts the whole situation of my convenience marriage. It goes
How to obtain a british passport, 2003
HOW TO OBTAIN A BRITISH PASSPORT With Javier Mancera. Book. DVD. 22 min. Color-sound. London, 2003. This video shows real and fake-acted footage, in a narrative way that depicts the whole situation of my convenience marriage. It goes
Shanty sounds, 2003
SHANTY SOUNDS Sound archive. Double CD Box. 500 numbered copies. 88 min. Bogota, 2003. SHANTY SOUNDS are the sounds from Bogota. Of its marginal settlements, that hang incredibly from the hills that surround the capital. All the recordings were
Shanty sounds, 2003
SHANTY SOUNDS Sound archive. Double CD Box. 500 numbered copies. 88 min. Bogota, 2003. SHANTY SOUNDS are the sounds from Bogota. Of its marginal settlements, that hang incredibly from the hills that surround the capital. All the recordings were
Ser caleño, 1999
Ser caleño, 1999 Un sofa rojo ubicado a la sombrita en frente del MAM LA TERTULIA, fue el espacio donde entrevisté a unos 10 visitantes y transeúntes durante el día que duró el III Festival de Performance. Abordándo a
Ser caleño, 1999
Ser caleño, 1999 Un sofa rojo ubicado a la sombrita en frente del MAM LA TERTULIA, fue el espacio donde entrevisté a unos 10 visitantes y transeúntes durante el día que duró el III Festival de Performance. Abordándo a
Street Museum, 1998 –2002
STREET MUSEUM With Cambalache Collective*. Exchange project. Street barter. Object collection. Installation. Caracas, Turin, London, Bern, Istanbul, Madrid, Paris, Seville, Barcelona, San Juan, Ljubljana, Bogotá. 1998 –2002. The street Museum is a barter and informal redistribution activity that
Street Museum, 1998 –2002
STREET MUSEUM With Cambalache Collective*. Exchange project. Street barter. Object collection. Installation. Caracas, Turin, London, Bern, Istanbul, Madrid, Paris, Seville, Barcelona, San Juan, Ljubljana, Bogotá. 1998 –2002. The street Museum is a barter and informal redistribution activity that
Quick cut, 1997-2000
Quick cut Urban Intervention. 1997 -2000 QUICK CUT Urban Intervention. Mobile Hairdresser. Wooden box with wheels, mirror, foldable chair and hair dressing paraphernalia. VHS-PAL. 12 min. Color-sound. Bogotá, Ljubljana and Barcelona. 1997-2000. An itinerant hairdressing parlour that offers its
Quick cut, 1997-2000
Quick cut Urban Intervention. 1997 -2000 QUICK CUT Urban Intervention. Mobile Hairdresser. Wooden box with wheels, mirror, foldable chair and hair dressing paraphernalia. VHS-PAL. 12 min. Color-sound. Bogotá, Ljubljana and Barcelona. 1997-2000. An itinerant hairdressing parlour that offers its