Category Archives: Uncategorized

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

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

Carolina Caycedo

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

Carolina Caycedo

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