Pia Camil - Galería OMR | Sitio Galería...

Pia Camil

Pia Camil (Mexico City, 1980) received herBachelor’sofFineArtsfromTheRhodeIslandSchoolofDesignin2003andherMaster’sofFine Arts fromThe Slade School of Fine Artin2008.Hersoloexhibitionsinclude“Espec-tacularTelón”atSultanaGallery,Paris(2013),“Cuadrado Negro” at the Basque museum-center of contemporary art in Spain (2013),and “El Resplandor” at OMR projects, Mex-icoCity (2009). Othergroupshows include“Draft Urbanism”, Bienal of the Americas,Denver(2013),“NoATrioA”,LaCasaEncen-dida,Madrid(2013),“ElGrito”,MUSAC,LeónyCastilla(2011),“ElResplandor”,MuseoEx-perimental El Eco, Mexico City (2010), “SinTecho Está Pelón”, Guanajuato UniversityMuseum(2010),“Therearefalseproblems”,ProyectosMonclova,Monterrey(2009).

HerworkhasbeenshowninMexico,Colom-bia,FranceandtheU.S.In2009,sheformedEl Resplandor, a performance-based band.ShehasreceivedawardsincludingtheEuro-peanHonorsProgram,PalazzoCenci,Rome,Italyin2001andshewasnominatedforThePaulHamlynAward,Londonin2008.Camil’swork is in the permanent collection of LaColecciónJumex,laColecciónPatriciaPhelpsdeCisnerosandtheWattisMuseumamongstothers.

Statement

A Pot for a Latch2015

NewMuseumNewYorkCity

For“APotforaLatch,”Camilpresentsaparticipatorysculpturalin-stallationproducedspecificallyfortheLobbyGallery.Inspiredbythemodulardisplaysystemstypicallyusedbyvendors,Camilhascon-structedasuccessionofgridwallpanelsofherowndesign,completewithbuilt-inhooks,shelves,andotherfixturesfordisplayingitems.Composedofgrids,lines,andgeometricshapes,thestructuresformavolumetricdrawingwithinthespaceofthegallery,referencingcheapcommercialconstructions.

The title of the exhibition refers to the potlatch, a ceremonial gift-givingfestivalpracticedbytheNative-AmericanpeoplesofthePacificNorthwestcoast.Camilinvitesthepublictoparticipateintheongoingcreationofherpiece,visitorsareencouragedtoexchangetheirownunique items forothers in the installation.Thecompositionon thegridwallpanelsistherebyinfluxandisrepeatedlyalteredthroughoutthecourseoftheexhibition.With“APotforaLatch,”CamiltransformstheLobbyGalleryintoashopofsorts,inwhichthemonetaryvalueofanobjectissupplantedbyitspersonalhistoryandsignificance.

Skins2015

ContemporaryArtsCentertCincinnati,USA

Skinsreflectsuponcontemporarysocietybyexploringtheintersectionof commodification and performance. For this newly commissionedbodyofwork,CamilmergestheaestheticsofcommercewiththatofFrank Stellas’s iconic Copper Paintings. The artist recreates Stella’sformsoutofslatpanelingused inmerchandisingdisplay.Camilap-propriates this material and affixes shelves and hooks upon whichceramicmaskssitandcloakshang.Themasksdrawinspirationfromformsseeninshopscreatedtodisplayjewelry.Theyareacommentaryonthemanipulationofthefemaleimageinmarketingandtheyarticu-latetheartificeofadvertising.

ThecenterpieceoftheexhibitionisastagemadeafteraStellapaint-ing.Thispieceinvitesinteractionfromtheviewer—allowingtheviewertocreateapersonabywearingthedifferentcloaksplacethroughouttheexhibition.Itisanopportunitytoexplorethedifferentaspectsofourownpersonalityandbecomepartoftheexhibition.

ThisexhibitionisCamil’sfirstsolomuseumshowintheUnitedStates.

Wearing - watching

2015

FriezeNewYork

PiaCamilhasconceivedaprojectthatwillfunctionasaportableen-vironment.Camil’sprojectwillconsistofaseriesofwearablefabricsdistributedfreelytothefair’svisitors.Disseminatedwithinthecon-textofthefair,Camil’sfabricpieceswillrequirethedirectparticipa-tionoftheviewers,quietlyemphasizingoneofthemaincharacter-isticsoftheexperienceofartfairs,wheretheactoflookingatartisoftenasimportantastheactoflookingatothersanddistinguishingoneselffromthem.

TheprojectwasspeciallycommissionedandproducedbyFriezeArtIncforFriezeProjectsNewYork2015.

Entrecortinas:abre,jala,corre(Betweencurtains:Open,Draw,Come)isPiaCamil’sfirstsoloexhibi-tioninMexico.Itisasite-specificinstallationinwhichtheartistelaboratesonherseriesEspectacu-lares,startedin2012,whereshecapturesaspectsoftheurbanlandscapeofMexicoCity,takingaspointofdepartureabandonedorcancelledbillboardswhichoftenshowfragmentsofadvertisingim-agesortheagent’scontactnumber.Camilappropriatestheseabstractimagesandreproducestheminhand-dyedandstitchedcanvascurtainsseekingtodeceleratetheprocessofmassiveculturalpro-ductionthroughahandmadecraftoftenrelatedtothefeminine.Composedbythreevasesandthreelargecurtains,oneofthemthesizeofatheaterbackdrop,theshowis,tosomeextent,performative:basedonascript(producedasalimitededitionartistbookmadeincollaborationwithGabrielaJaureguiandSofiaBroid),atdifferenttimesoftheday,thecur-tainsandvasesmoveplaces.Thescriptisastagingofadomesticsettinginhabitedbyanimaginarycharacter(awoman),wherethedialoguesareplayedoutbythevasesandcurtains.Thegallerywallsarepaintedwithcolorsemphasizingthespace’sdecorativeanddomesticnature.Theyalsohaveaformalpurpose:whenmovingthroughouttheexhibitionspace,visitorscandiscoverdifferentcom-positions,dependingonthecurtain’spositionwithinthespace,asifexperiencingathree-dimension-alpainting.

Theproject’sunderlyinginterestisthestylizationoffailure-inparticularthefailureofcapitalistecon-omiesandmassculture. Theideaofthebillboardasasymbolofthisculture,transformedintoahouseholditemvoidofmeaning,becomesaplayfulbutcriticalgesturereferringdirectlytoboththebillboardandthespectacle.Thefinalresult isanimaginarydomesticsettingconsistingofobjectsmadefromfragmentedandcrypticsymbols.Thecurtainsaswellasthevaseshavethefunctionofcovering,uncovering,andwithholdingmeaning,contributingtotheformationofanundecipherableenvironment.

PiaCamil(MexicoCity,1980)livesandworksinMexicoCity.SheearnedaBAinFineArtsbytheRhodeIslandSchoolofDesign,andaMAinFineArtsbyTheSladeSchoolofFineArt,London(2008).HerworkhasbeenexhibitedindividuallyinshowslikeEspetacularTelón,GalerieSultana,Paris(2013);CuadradoNegro,MuseoVascodeArteContemporáneo,Vitoria(2013).AmonghergroupshowsareDraftUrbanism,Biennialof theAmericas,Denver (2013);NoATrioA,LaCasaEncendida,Madrid(2013);ElGrito,MUSAC,LeónyCastilla(2011);ElResplandor,MuseoExperimentalElEco,MexicoCity(2010);Sintechoestápelón,UniversidaddeGuanajuato(2010);Therearefalseproblems,ProyectosMonclova,Monterrey(2009).In2009sheco-foundedtheperformancebandElResplandor.In2001shewasgrantedtheEuropeanHonorsProgram,PalazzoCenci,Rome;andin2008shewasnomi-natedforThePaulHamlynAward,London.

Fragmento 6 I y 6 II,2014Cerámicadebajatemperaturaconesmalte

34x2414cm40x26x13.5(PCa25,26)

Entre cortinas: abre, jala, corre

2014

GaleríaOMRMexicoCity

EspectacularTelónTolucaVI,2014Handdyedandstitchedcanvas+edi-

tion3/20artistbookEntrecortinas:abre,corre,jala

295x352cm(PCa15)

Fragmento8II,2014Cerámicadebajatemperaturacon

esmalte/Enameledlowtemperatureceramic

70x40.5x16cm(PCa27)

EspectacularTelónTolucaI,2014Lonadealgodónteñidaycosidaamano

295x352cm(PCa16)

EspectacularTelónTolucaIII,2014Handdyedandstitchedcanvas+edi-

tion4/20artistbookEntrecortinas:abre,corre,jala

295x352cm(PCa18)

Túnica,2014Lonadealgodónteñidaycosidaamano259x165cm(101.97x64.96in)(PCa33)

Espectacular Telón Ecatepec I y II,2014Lonadealgodónteñidaycosidaamano

270x704cm(PCa13)

Fragmento 4 II,2014Cerámicadebajatemperaturaconesmalte

74.3x33.5x13.5cm(PCa24)

Entrecortinas: abre, jala, corre,2014LibrodeartistaencolaboraciónconGabrielJaureguiySofíaBroid42x54.6cm(PCa32)

Entrecortinas: abre, jala, corre,2014LibrodeartistaencolaboraciónconGabrielJaureguiySofíaBroid

42x54.6cm(PCa32)

Fragmento 4 I,2014Cerámicadebajatemperaturaconesmalte84x32x20cm(PCa23)

Fragmento 8 I,2014Cerámicadebajatemperaturaconesmalte82.5x42.5x17cm(PCa22)

Espectacular Telón Pachuca I,2014Lonadealgodónteñidaycosidaamano270x384cm(PCa14)

Fragmento 4 I,2014Cerámicadebajatemperaturaconesmalte

84x32x20cm(PCa23)

Espectacular Telón Pachuca I,2014Lonadealgodónteñidaycosidaamano

270x384cm(PCa14)

Espectacular Telón Toluca I, II, IV y V,2014Lonadealgodónteñidaycosidaamano

295x352cm(PCa16,19,20)

Entre cortinas: abre, jala, correPerformance

2014

GaleríaOMRMexicoCity

Kimono,2014Lonadealgodónteñidaycosidaamano259x165cm(101.97x64.96in)(PCa33)

Cuadro Negro

2013

BasqueMuseum-CenterofContemporaryArtVitoria,Spain.

“Cuadradonegrointerfiere,modificayfragmentalapercepcióndelpaisajearquitectónicodeledificioyelentornodelMuseo.Laobratomasutítulodeunadelasobrasfundacionalesdelsuprematismo, Cuadrado negro, de Kazimir Malevich (1915),paraproducirunafragmentaciónenelpaisajearquitectónicoatravésdelacancelacióncromática.Laestructuraes,sinem-bargo,transitable,porloque,frentealaintenciónestáticadelossuprematistas,esteCuadradonegroremitetambiénalos“penetrables”,deHélioOiticica (1972),querequierenqueelespectadorentreenellas.Elusodeunmaterialhabitualcomolalonanegra,utilizadaenelrecubrimientodeandamios,per-miteunarelacióninteractivaconlapiezaenfuncióndeladis-tanciaenlaqueestéelpúblico.”

InstallationattheBasquemuseum-centerofcontemporaryart,Vitoria,Spain.Metalbeamsandconstructionmesh8mx8mx8m

Trio A

2013

PerformanceLaCasaEncendida,Madrid

The performance is a negation ofYvonneRainer’s“TrioA”choreographyhighlighting the difficulties and prob-lematics of engaging with an iconicwork. There are 50 meters of fabricwhich travel through out the space,the fabric is fastened onto my bodywithaharness(inthefashionofbond-age) and I wear a mask and woodenplatforms with the intention to limitmy vision and movement. Attempt-ing to do the performance becomesa real effort, the performance in theendshouldbeonlythat,aseriesofat-tempts.TheinstallationwasmadeforLaCasaEncendida,Madrid,withartistGuiller-moMoraandthesuitwasdesignedincollaborationwithUrielUrban.

ThepaintingEspectacularamanecerispartofaseriesoflargeformat textile paintings based on the urban landscape ofMexicoCity. Avastnumberofbillboardsare leftabandonedinthecity,orarenolongerinuse.Thepanelsthatoncehadthephrase“disponible”writtenonthemorhadthedigitsofaphonenumberhavebeen recycledand reconfigured intoac-cidental abstract shapes. In a sense, they are the few blindspotsoftheurbanlandscapewithnocommercialvalue.Whathadbeenformedbyaccidentbecametheblueprintforaseriesofworks thathavebeencarefullyassembled inanartesanalway.Eachpanelhasbeenrecreatedoncanvas,handdyedandstitchedtoformpartofalargerwork.

Espectáculares

2012

Espectacular Cortina Handpaintedcanvasand

stitched2,00cmx5,40cm(separatepanels)2012

Espectaculartelón,2013Handdyedandstitchedcanvas280x340cm(PCa11)

Espectacular GrisHandpaintedcanvasand

stitched1,80cmx2,80cm(separatepanels)2012

Espectacular Azul Violeta Handpaintedcanvas

andstitched1,80cmx2,10cm.2012

‘Model for a Monument’ is a scaled copy of an existingmonumentin“LaPlazadelasTresCulturas”inTlatelolco,MexicoCity.Themonumentcommemoratesthe inaugura-tionofMarioPani’smodernisthousingcomplexNonoalcode Tlate- lolco (1958-1964). The passing of time and theeventsthattookplaceintheplazahavemarkedthemonu-Model for a monument (Maqueta para el monumento) .2011

Engravedblackmarbleonwoodenbase75cmx27cmx15cm

Housing Project

2011

mentand left itasweperceive it today inastateof totalabandonmentanddeterioration.Thoseimperfectionswereintegratedintothemarblepieceinanattempttogobackintimeandproposeanewmodelforthemonumentthattakesintoaccountitsownhistory.

Model for a monument

ThepaintingisfocusedonthebalconiesoftheChihuahuabuildinginTlatelolco.Theintentionisnotonlytodoafor-malreadingofthebalconiesbuttotrytounderstandthemasakeyelementthatgaveplacetothemassacreofthe68studentrevolt.Thatis,duetoitsproportionsandrelationtothemainsquareknownas“Laplazadelastresculturas”,the balconies became strategic points for the snipers aswellasplacesofrefugeorbarricadesforthestudents.

Balcony (Tlatelolco).2011Oilpaintingoncanvas

1,12cmx2,75cm

Balcony

Tlatelolco Thevideoisafixedviewofthemainsquare“Laplazadelastresculturas”inTlatelolcoasseenfromasniper’sperspec-tive.Superimposedtotheim-ageof thepassingpeople in thesquare, thereareeighthorizontalstripesthatcorrespondtothoseofapercussionstaff.Thevideoissynchedwiththeaudioinawaythateverytimeapersoncrossesoneofthelinesadifferentpercussion isactivated.The randomcrossingof thepasserbybecomesanimprovisedsetofsoundsthatremindusofthe2ndofOctobershootings.

Shot from A Balcony Black and white , 2011Vdeo

Duration6:09min

(Tlatelolco) Chihuahua

Colored polaroids, 2011 8.5 cm x 10.5 cm

Highway Follies Portfolio

2011

An edition of 4 cloth-bound porfolios with 9 prints each.Inket print25cm x 35cm, 2011

An edition of 4 cloth-bound porfolios with 9 prints each.Inket print

25cm x 35cm, 2011

Resin and mineral pigment paint on canvas1,50 m x 2 m. 2011Highway Follies Yellow

(eachpaintingisaccompaniedbyadocumentationportfoliooftheruins)

Highway Follies is a project based on abandoned constructions, quasi-ro-manticruins,locatedbythesideofMexicanhighways.IfSmithsonsawsub-urbiaasaplacewithnopastorpresent,onlythepromiseofwhatcouldbe,thisprojectinvestigatesthefu-turethatcouldnotbe:ruinsastheaestheti-cizationoffailure.

HighwayFolliesisaprojectbasedonabandonedconstructions,quasi-romanticruins,locatedbythesideofMexicanhighways.IfSmithsonsawsuburbiaasaplacewithnopastorpresent,onlythepromiseofwhatcouldbe,thisprojectinvestigatesthefu-turethatcouldnotbe:ruinsastheaestheticizationoffailure.

Resin and mineral pigment paint on canvas1,50 m x 2 m. 2011Highway Follies Blue

(eachpaintingisaccompaniedbyadocumentationport-foliooftheruins)

Resin and mineral pigment paint on canvas1,50 m x 2 m. 2011Highway Follies Orange

(eachpaintingisaccompaniedbyadocumentationport-foliooftheruins)

Highway Follies is a project based on abandoned constructions,quasi-romantic ruins, locatedby thesideofMexicanhighways. IfSmithsonsawsuburbiaasaplacewithnopastorpresent,onlythepromiseofwhatcouldbe,thisprojectinvestigatesthefu-turethatcouldnotbe:ruinsastheaestheticizationoffailure.

Resin and mineral pigment paint on canvas1,50 m x 2 m. 2011

Highway Follies Magenta(eachpaintingisaccompaniedbyadocumentationport-foliooftheruins)

Highway Follies is a project based on abandoned constructions,quasi-romantic ruins, locatedby thesideofMexicanhighways. IfSmithsonsawsuburbiaasaplacewithnopastorpresent,onlythepromiseofwhatcouldbe,thisprojectinvestigatesthefu-turethatcouldnotbe:ruinsastheaestheticizationoffailure.

HighwayFollies,Tula,2011Impresionesdeinyeccióndetinta

35x45cmc/u(portafoliode9prints)Edition3of4with1AP

(PCa9.3)

Selected Works

Pia Camil for Sale Photographicdocumentationoftheperformance

LostinYou.The35mflagwasthetailendofadresswornduringtheperfor-mance.

Pia Camil for sale, 2010Inkjet Print. Variable dimensions, 2010

Hand dyed cotton cloth (2,00 m x 2,50 m), Wooden painted frame (1,20 m x 1,00 m), and inkjet print (28 cm x 21,5 cm) 2010

She was free but she was free

In site installation at El Museo Experimental El Eco. Variable dimensions, 2010

El Resplandor Uroboros

Residency program at El 52 (OMR Gallery’s project space) In site installation, variable dimensions, 2009

El Resplandor

Collage Visiones. 28 cm x 41 cm , 2009

El Resplandor

Installation composed of wooden frames, aluminum and plastic sheets. Paintings by artist Julio Le Parc.

Variable Dimensions, 2009

Support structure for Julio Leparc

FlooradaptationofFrankStella’s“MoreorLess”paintingusingwoodenplanksextractedfromthegalleryspace.

More or Less Frank Stella

Más o menos, adaptación para piso, 2009Duela de madera entintada en negro, extraida del lugar de exhibición.276 x 336 x 9 cm(PCa 4)

Billboard Support Structure

Painted wood. 3,61 m x 6,60 m, 2009

Pasado/FuturoWoodandholographicselfadhesivefilmLondon,2007

IncompleteCubeDelineatedinSpace·YellowAcrylicPaint·Cardiff,Wales,2008

Diagonal Hoarding I,2008WoodandblackacrylicpaintLondon

Diagonal Hoarding II (withHazardTapeWallPaper),2008Wood,acrylicpaintandhazardtapewallpaperprintedonA1sheetsoffabriano

London

Hazard Tape Wall Paper,2008Wood,acrylicpaintandhazardtapewallpaperprintedonA1sheetsoffabriano(DetailviewfromDiagonalHoardingII)London

Diagonal Hoarding II(withHazardTapeWallPaper),2008Wood,acrylicpaintandhazardtapewallpaperprintedonA1sheetsoffabriano(Detailviews)London,

Diagonal Hoarding III,2008WoodandblackacrylicpaintKeithTalentGalleryLondon

Diagonal Mark Repeated,2008Whiteacrylicpaintonglass(Detailviews)Manchester

Waiting, Waiting, Waiting,2008GoldpolishedstainlesssteellettersmountedonMDF

RobertSchumanUniversity,Strasbourg

Waiting, Waiting, Waiting,2008GoldpolishedstainlesssteellettersmountedonMDF

UrbanSemanticsPhotographicArchiveVariousphotosamplesfromarchiveLondon,2006-2008

White,2006-2008FromUrbanSemanticsPhotographicArchiveLondon,

Rubish,Rubish,Rubish,2006-2008FromUrbanSemanticsPhotographicArchiveLondon

Entrecortinas:abre,jala,corre(español),LibrodeartistaencolaboraciónconGabrielJaureguiySofíaBroid,2014Serigrafíapapelesdiversos

42x54.6cm(extendido)Edition6of20

(PCa32.6)

Window Marking and BlockingVarioussamplesfromphotographicarchiveLondon,2006-2008

Photographic archive for research purposes

2006-2008

London

Hazard Tape Patterns and Uses VarioussamplesfromphotographicarchiveLondon,2006-2008

Hoarding Patterns (detail views) VarioussamplesfromphotographicarchiveLondon,2006-2008

Hoarding Patterns and UsesVarioussamplesfromphotographicarchiveLondon,2006-2008

Drawings

2009-2011

Cry baby Watercolor and ink 21 cm x 15 cm. 2009

Time to lose Watercolor 32 cm x 24 cm. 2010 Its funny and tragic at the same time Watercolor 24 cm x 18 cm. 2010

Bytree Watercolor 30 x 20.5 cm. 2009

Snakebattle Watercolor and ink 42 cm x 29.5cm. 2011

Dont ask why Watercolor and ink 32 cm x 24 cm. 2011

PiaCamil

MexicoCity,Mexico,1980

LivesandworksinMexicoCity,Mexico

Education

2008 MasterofFineArts,TheSladeSchoolofFineArt,London.

2003 BachelorofFineArts,RhodeIslandSchoolofDesign,Providence,

R.I.

Awards

2008NominatedforThePaulHamlynAward,London.

2001EuropeanHonoursProgram,PalazzoCenci,Rome,Italy.

SelectedSoloExhibitions

2016 A Pot for a Latch,NewMuseum,NewYorkCity,EEUU

2015 Skins,ContemporaryArtsCenter,Cincinnati,EEUU

Wearing – watching,FriezeProjects2015,FriezeNewYork,EEUU

2014Thelittledoglaughed,BlumandPoe,LosAngeles,USA.Entrecortinas:

abre, jala corre, OMRGalería,MexicoCity,Mexico.

2013 Espectacular Telón, SultanaGallery,Paris,France.

Cuadro Negro,partoftheprogramMutatisMutandisinArtium,Basque

Museum-CenterofContemporaryArt.Victoria,Spain.

2010 Lost In You (A Performance That Never Happened),openstudio

performance,MexicoCity,Mexico.

2009 El Resplandor,El52(projectspaceandresidenceprogramranbyOMR

Gallery),MexicoCity,Mexico.

2005 Retaralamuertesosteniendolarespiraciónbajoelagua(in

collaborationwithCarlottaManaigo),ProyectosMonclova,Ciudadde

México,México.

2004 Pensando en Ti (Thinking of You),permanentinterventioninpublic

parkinglot,MexicoCity,Mexico.

2003 Temporarygalleryspace,MexicoCity,Mexico.

SelectedGroupExhibitions

(*denotescatalogue)

2015 Frieze Projects 2015,FriezeNewYork,UnitedStates.

Pia Camil, Pablo Helguera, Pedro Reyes,MIMA,

Middlesbrough,UnitedKingdom.

2014 Ir para volver,12thBiennaleofCuenca,Cuenca,Ecuador.

Arroz Sem Sal,SilviaCintraGallery,RiodeJaneiro,Brazil.

CuratedbyKikiMazzucchelli.

2013 Draft Urbanism,BiennaloftheAmericas.Denver,ColoradoCuratedby

CarsonChan.

No A Trio A,“Encasa”projectaLaCasaEncendida,Madrid,Spain.

CuratedbyLuisaFuentesGuaza.

Horizontal,LaCentralgallery.Bogota,Colombia.

2012 Popo de Paris,SultanaGallery,Paris,France.

Arteba,curatedbyPabloLeóndelaBarra,BuenosAires,

Argentina.

2011 Solo Projects Art-Rio,curatedbyPabloLeóndelaBarraandJulieta

Gonzalez,InternationalContemporaryArtFairofRiodeJaneiro,Brazil.

El Grito,curatedbySofiaHernandezChongCuyandMaríaInésRodríguez,

MuseodeArteContemporáneodeCastillayLeón(MUSAC),Spain.

Zona Maco Sur,curatedbyAdrianoPedrosaMexicoCity,

Mexico.

Proyectos Ultravioleta,curatedbyBeatrizLopez,Guatemala.

2010 El Resplandor performance,MiamiArtBasel,CreativeTimeandTamayo

MuseumprogrammingforOceanFront,Miami,FL,USA.

Sin techo está pelón,curatedbyMichelBlancsubé.Aselectionofwork

fromLaColecciónJumex.*UniversidaddeGuanajuato,Mexico.

Draw,MuseodelaCiudaddeMéxico,AnexhibitioncuratedbyErikFoss,

CurseMackeyandMiguelCalderón,MexicoCity,Mexico.

El Resplandor,MuseoExperimentalEco,MexicoCity,

Mexico.

MACO,ContemporaryArtFair,MexicoCity,Mexico.

2009 Artbo,LaCentral,Colombia.

There are false problems...,ProyectosMonclova,Monterrey,NL,

Mexico.

Resplandor,El52GallerySpace,MexicoCity,Mexico.

[sic],OMRGallery,MexicoCity,Mexico.

Names and Places,FirstdraftGallery,Sydney,Australia.

This is not an invitation, it’s a presentation,curatedbyPiaCamilin

collaborationwithStefanBrüggemann,El52GallerySpace,MexicoCity,

Mexico.

2008 Illumination,anIntervalproject,Manchester,UK.

Lanzarote,KeithTalentGallery,London,UK.

PostGraduateDegreeShow,SladeSchoolofFineArt,London.

WoburnStudios,SladeSchoolofFineArt,London

Croyances Quotidiennes,PalaisUniversitéRobertSchuman,Strasbourg,

France.*

Kate Moss Drawings,GaleríadeArteMexicano,incollaborationwith

artistStefanBrüggemann,MexicoCity,Mexico.

Taenu,TactileBOSCHGallery,Cardiff,Wales,UK.

2007 Interim Show,SladeSchoolofFineArt,London,UK.

Eventos Sociales,GaleríadeArteMexicano,MexicoCity,Mexico.

Trace: Recent Works From Slade Post-Graduates,TheSladeSchoolof

FineArt,London,UK.

Turtle,WoburnStudios,TheSladeSchoolofFineArt,London,UK.

2006 Fire and Ice, drawing study,NinaMenocalGallery,MexicoCity,

Mexico.

MACO Art Fair,NinaMenocalGalleryStand,MexicoCity,Mexico.

Cinco: A Multi-Media Exhibition From Five Contemporary Mexican

Artists,BlackBookMagazine,NewYorkCity,NY,USA.

2005 To Challenge Death by Holding Your Breath Underwater,Proyectos

MonclovaGallery,MexicoCity,Mexico.

Morir de Amor,MUCAUnam(NationalAutonomousUniversityMuseum

ofContemporaryArt),MexicoCity,Mexico.*

2004 El Sueño de la Razón,CollaborativedrawingwithAndreaCrews

forLocalismos,MexicoCity,Mexico.

San Valentín Señorial,audioinstallation,HotelSeñorial,MexicoCity,

Mexico.

2003 Painting show,WoodsGerryGallery,Providence,RI,USA.

2001 YIA (Young International Artists),CentroCulturaleRialtoSanto

Ambrogio,Rome,Italy.

WinterandSpringExhibitions,PalazzoCenci,Rome,Italy.

Residencies

2015 MonteverdiTuscany,CastiglioncellodeTrinoro,Italy.

Cataloguepublications

Sin techo esta pelon,ColeccionJumexexhibitioncatalogue,2010.

Creencias Cotidianas,Exhibitioncatalogue,2008.

Morir de Amor,Exhibitioncatalogue,2005.

Galería OMRCórdoba100México,D.F.,06700

+5255|55111179+5255|52071080

[email protected]

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