Artists

Claudia Joskowicz (b. 1968, Santa Cruz de la Sierra, Bolivia) will use the Grant to produce Eje salino, a three-channel video installation that offers a critical exploration of the Bolivian landscape. Focusing on Bolivia's Salar de Uyuni salt flats, the work contrasts the abstract and poetic beauty of the region with the harsh reality of lithium mining and its economic and ecological implications. The project aims to reveal the complex aesthetic, political and cultural layers that shape this emblematic space.

Claudia Joskowicz works primarily with video, installation, and photography. Her practice focuses on history and its narrative, considering the role that media plays in its construction. For most of her career, she has focused on the Latin American landscape, producing works in Bolivia, her native country, and throughout South America. Joskowicz has exhibited extensively in the United States and internationally. Her work is in the permanent collections of the Guggenheim Museum; the Kadist Foundation, the Cisneros Fontanals Foundation, and the Central Bank of the Republic of Bogotá. She has received numerous awards and grants, including: Guggenheim Grant, Anonymous Was a Woman Award, NYFA Grant y Fulbright Grant. She has also been a fellow at Fundación Camargo (France), Yaddo Corporation (New York), Fountainhead Arts (Miami), Latin American Roaming Art Project (Mexico), Sacatar Institute (Brazil), and the Lower Manhattan Cultural Council (New York). Joskowicz is a professor of fine arts at Wellesley College, Massachusetts, United States.

Artists

Ignacio Gatica (b. 1988, Santiago, Chile) will use the Grant to produce Sanhattan, a video work that offers a poetic-documentary reflection on the development of Santiago's financial centre and its link to Wall Street culture in New York. Filmed in both cities, the project explores how the economic doctrine imposed on Chile by the Chicago Boys since the late 1970s has impacted today's globalised society. It will feature a soundtrack by Nicolás Carcavilla, poems by Ileana Elordi and interviews with Chilean academics, journalists and sociologists such as Liliana De Simone, Eugenio Tironi and Sergio Parra, among others. The work will be exhibited as a large-format installation in New York in 2026.

Ignacio Gatica works with installations, drawings, sculpture, video and text. His practice reveals unexpected connections between the signs and signifiers of the economic and social structures that determine everyday life. With a focus on the languages of the financial world, spaces of exchange, consumer cultures and the global systems that shape cities, his work intertwines the personal and the collective. Among his solo exhibitions include: Playa Privada at Galería Patricia Ready (Chile, 2025), Sujeto Cuantificado at Von Ammon Co. (Washington, 2023), Stones Above Diamonds at Cooper Cole (Toronto, 2021), 13:28 at Fundación Marso (Mexico, 2019), TAANSTAFL: There is no such thing as a free lunch in Interstate Projects (New York, 2019). His work has been featured in group exhibitions at institutions such as Sculpture Center (2022), the Hessel Museum of Art at Bard College (2022) and El Museo del Barrio (2017), in New York. Lives and works between Santiago and Brooklyn.

Artists

Dani Umpi (b.1974, Tacuarembó, Uruguay) will use the Grant to produce the first comprehensive exhibition of his visual work. The show, to be held at the Subte, Montevideo, in 2026 and curated by Rodrigo Barcos, proposes a journey that brings together paintings, collages, textiles, and installations. It will include archival material documenting the underground scene and artistic life of Montevideo and Buenos Aires over the last twenty years, revealing the hybridity of languages that characterises his practice.

Dani Umpi is a visual artist, writer, performer and singer whose work is characterised by the intersection of disciplines and languages. His practice challenges the boundaries between art and popular culture, incorporating elements of everyday life, pop and kitsch aesthetics, which he reinterprets in a critical and poetic way. His visual work takes the form of collages, textiles, objects and installations that explore ornamentation, accumulation and the reappropriation of domestic materials. He has exhibited at international institutions and festivals, including MALBA (Buenos Aires), MNAV (Montevideo), Fundación PROA (Buenos Aires), Museo de Arte Moderno (São Paulo), Museo del Barrio (New York) and Bienal de Mercosur. He has also published novels and essays, including: Aún soltera (2003), Miss Tacuarembó (2004) and Un poco mentira (2006). As a musician, he has released albums that fuse electronic pop with a performative and theatrical style, collaborating with leading artists from the Latin American scene.

Artists

Paloma Contreras (b. 1991, Mexico City, Mexico) will use the Grant to produce Antígona, an immersive installation combining sculpture, video and sound, with the aim of exploring contemporary forms of mourning and disappearance in Latin America. Inspired by the figures of the ‘Latin American Antigones,’ women who search for and reclaim their dead, the work presents a theatre of the underworld where memory becomes resistance and ritual. Through murals, objects and a central video, Antígona recreates a funereal landscape permeated by rhythms and symbols of Mexican popular culture. The project is the first chapter in a series dedicated to representations of loss in contexts of social violence. The installation will be presented in 2026 at Gasworks, London, as part of the artist's residency between January and March.

Paloma Contreras focuses her practice on creating fantasy narratives to reimagine Latin American and Mexican history. Through writing, autofiction, video, drawing, and sculpture, she classifies and represents economic, political, historical, and bodily ‘spectres’ in settings that combine cinema and multimedia installation. Contreras has a Bachelor degree of Visual Arts from the Escuela Nacional de Pintura, Escultura y Grabado ‘La Esmeralda’ and participated in the SOMA Educational Programme in Mexico. She was a member of the Biquini Wax collective. Her work is part of collections including: Museo Tamayo, Seattle Museum of Art, CIFO, Estrellita B. Brodsky Collection and KADIST. She has exhibited at numerous institutions and galleries, including: Kunstraum Kreuzberg (Berlin, 2025), Museo Anahuacalli (Mexico City, 2025), CARA NYC (New York, 2024), Museo del Chopo, Palais de Tokyo (Paris, 2019), Mendes Wood (São Paulo, 2023), kurimanzutto (Mexico City, 2021), Galería Agustina Ferreyra (Puerto Rico, 2022), and Pequod Co (Mexico City, 2020). She has participated in residencies such as ISCP (New York) and Lille3000 Eldorado (France).

Art and social engagement

Alianza Wichí (Argentina) will use the Grant to develop Tejiendo Territorios de Memoria [Weaving Territories of Memory], a collaborative and intergenerational art initiative carried out with the collective of women weavers Silät in northern Argentina. Understanding weaving as both an artistic and political gesture that preserves memory and sustains identity, the project seeks to strengthen the transmission of traditional weaving knowledge and create spaces for exchange among women from different Indigenous communities of the Gran Chaco region. Community workshops will be led by Wichí artist Claudia Alarcón, accompanied by bilingual audiovisual documentation that will record the stories, learnings, and shared strategies of cultural resistance.

Alianza Wichí is an intercultural organization that has been working for four years alongside Indigenous communities of the Gran Chaco. In the cultural sphere, it has promoted community-based work and the transmission of textile knowledge through the Silät collective, under the leadership of Wichí artist and community leader Claudia Alarcón. This collective brings together around one hundred women weavers from different generations within the communities of La Puntana and Alto La Sierra, who primarily work with chaguar fiber. Currently, they focus both on fostering dialogue with the contemporary art system and on developing local cultural projects.

Art and social engagement

Nube Lab (Chile) will use the Grant to develop a project of interventions for school playgrounds, co-designed with three Latin American artists whose practices intersect art, play, and performance. The initiative reactivates school recess as a space for encounter and cultural exchange within a context marked by the digital era and social fragmentation. The project will be implemented in six primary schools in Santiago with high levels of social vulnerability and migrant populations, reaching more than 3000 students. It includes interviews, the development of prototypes for artistic games, activation sessions in each school, and an audiovisual record that will be shared with the participating communities.

Nube Lab is a non-profit organization conceived as a laboratory for creative processes that integrates art into the education of children, youth, and adults to generate social, cultural, and pedagogical impact in diverse communities. From its studio in Parque Padre Hurtado in Santiago, it carries out an ongoing program for schools, families, and the general public, as well as artist residencies and pedagogical research spaces. In recent years, Nube Lab has consolidated its role in transforming education through art and creativity, developing projects that combine research, artistic creation, teacher training, and community participation.

Organizations

lugar a dudas (Colombia) will use the Grant to develop a public program in the city of Cali, which will be presented in tune with a major international exhibition. They will also produce a new edition of the Fotocopioteca, a historic publishing initiative of the institution, which on this occasion will bring together urgent questions about the epistemological, political, and ecological changes affecting contemporary arts and humanities, in collaboration with the project’s participants.

lugar a dudas is an organization founded in Cali that, since 2005, has worked to implement various art and education programmes, and whose operation has been, in itself, a school for local artists of different generations. For twenty uninterrupted years, it has created different educational formats around contemporary art. Until the pandemic, it also maintained a rich programme of national and international artist residencies, as well as continuous film screenings and art exhibitions. It has established itself as a platform for supporting students, art teachers and young artists at the local and national levels.

Organizations

Sertão Negro (Brazil) will use the Grant to develop its artist residency programme, focused on Latin American decolonial art practices. The project seeks to foster creation inspired by Afro-Brazilian and quilombola knowledge, and strengthen exchange networks between Brazil and Latin America. The residency will include an initial experience at Quilombo Kalunga alongside masters and guardians of local traditions, and a second stage of artistic production at Sertão Negro, where techniques such as ceramics and woodcut printing will be combined with contemporary languages. The programme will conclude with an exhibition and a digital catalogue.

Founded in 2021 by artists Dalton Paula and Ceiça Ferreira, Sertão Negro Ateliê e Escola de Artes is an artistic and cultural space located in Goiânia, dedicated to sharing creative processes and experiences in dialogue with the environment. Conceived as a contemporary quilombo in the Brazilian Cerrado, the epicentre of Afro-Brazilian art, the project integrates ancestral practices with agroecology, bioarchitecture and community education. Over the last few years, Sertão Negro has developed four strategic areas: education, cultural production, environmental management and artistic emancipation. It has also implemented the Jatobá Nascente Project, a permanent residence for artists.

Publications

Jorge Macchi (b. 1963, Buenos Aires, Argentina) will use the Grant to produce RETOUR, an artist’s book based on texts and objects found in public spaces near his studio. The project seeks to construct meaning from the anonymous messages discovered in the urban fabric, exploring intimacy, memory, and the traces of everyday life in the city through the collection of discarded papers that include: lists of objects, addresses, letter drafts, diary pages, and sketches, materials originally meant to remain private and be thrown away. The final format will include the book itself, six posters, sixteen postcards, and a vinyl record featuring a composition by Edgardo Rudnitzky.

Jorge Macchi is a visual artist whose practice spans multiple media including painting, installation, performance, video, photography, and artist’s books. Through archives, maps, musical scores, press clippings, and urban landscapes, the artist introduces elements of music, literature, and architecture to propose new perspectives on the everyday. In 2001, he received the Guggenheim Fellowship for his Buenos Aires Tour project. He represented Argentina at the Venice Biennale (2005) with La Ascensión, a work created in collaboration with Edgardo Rudnitzky. Three monographic exhibitions of his work have been presented: Perspectiva, MALBA (Buenos Aires, 2016), CA2M (Madrid); Music Stands Still, SMAK (Ghent, 2011); and Anatomy of Melancholy, Santander Cultural (Porto Alegre), Blanton Museum (Austin, 2007), and CGAC (2008). He has also participated in numerous group exhibitions and biennials, including the Liverpool Biennial, the Sydney Biennale, and the São Paulo Biennial.

Publications

Revista Balam (Honduras/Argentina) will use the Grant to produce Balam No. 12: Sirenas del Caribe [Mermaids of the Caribbean]. This issue of the magazine will focus on the concept of Neo-Carib, a contemporary Caribbean identity that after recognizing the traces of colonialism, slavery, and diaspora, embraces fluidity, hybridity, and the future. Proud of its indigenous and African heritage, this issue will highlight the experiences and poetics of the Afro-Caribbean queer community by exploring how Caribbean bodies conceive their own visual languages as political territories, affective archives, erotic drives, ancestral memories, and spaces for radical creation in the face of violence, structural racism, and cultural hegemony. The project will feature the international participation of photographers, collectives, archives, artists, writers, activists, and curators from the Caribbean and their allies, capable of imagining the scenarios of tomorrow.

Founded in 2015 by Luis Juárez (b. 1991, Honduras), Balam is an independent contemporary photography magazine that works through open calls to democratize access and amplify diverse, critical, and committed voices. Balam has published more than ten editions, seven of them in print, bringing together artists, photographers, and projects from different latitudes under a Latin American perspective. It promotes dialogues that cross aesthetics, politics, and identity and expands the scope of the publication to position it as a platform for curatorial research.

Artists

Alejandro Cruz (b. 1975, Montevideo, Uruguay) will use the Grant to compile and restore a set of 12 works created since 2007 that address the Afro universe through a symbolic lens, while also developing a new body of work.

Alejandro Cruz is a visual artist, curator, audiovisual designer and teacher. He has been selected in several editions of the Premio Nacional de Artes Visuales and Premio Municipal de Artes Montevideo. In 2007, he was responsible for the Uruguayan submission of videos to the 8th Biennial of Video and New Media in Santiago de Chile and he co-curated the 4th Montevideo Biennial in 2019. As an artist and curator he has participated in numerous exhibitions in Uruguay and abroad. He currently works for a mentorship program of the Darryl Chapelle Foundation and the Museo de Arte de Puerto Rico. In parallel, he teaches curatorial classes at the Faculty of Arts of the Universidad de la República de Uruguay.

Artists

Ana María Montenegro (b.1986, Bogotá, Colombia) will use the Grant for the production of an immersive video installation that explores the story of a Colombian soldier who has been struck four times by lightning. It will be presented in an exhibition at Fragmentos Espacio de Arte y Memoria, in Bogota. The project seeks to approach the contradictions and contrasts that define the Colombian reality: the relationship with a majestic and imposing nature, which at the same time is the scene of situations of violence and precariousness.

Ana María Montenegro is an artist, curator, and teacher. She studied art at the Universidad de los Andes, Bogotá and at the San Francisco Art Institute, USA. Her work has been exhibited in Colombia and abroad since 2010. She has taught art and media at several universities since 2012. In 2019 she was part of the curatorial team of the 45th National Artists Salon, where she curated Instancias and Redirección, and coordinated the Cátedra Performativa. Recently, she was part of the creative team of the laboratory ‘6402 Razones para no Olvidar’ organized by the Ministry of Cultures, Arts and Knowledge of the Republic of Colombia.

Artists

Clara Esborraz (b. 1991, Rafaela, Argentina) will use the Grant to continue a work in progress that reflects on the body, intertwining a series of sculptures, photographs, performances and installations. The work is based on the construction of photos and domestic objects in which bodies melt, hangers twist and bodies have the possibility of falling, making this an exercise that strengthens them.

Clara Esborraz has a degree in Fine Arts from the National University of Rosario. In 2017 they completed the Artists Program at the Universidad Torcuato Di Tella and in 2018 they participated in the URRA residency, in Argentina. Esborraz has exhibited in solo and group shows such as El fin de la ciudad (PIEDRAS Galería, 2022), Cuerpos intermitentes (CCK, 2022), La hora rota (Museo de Arte Moderno de Buenos Aires, 2019), among others. They are part of the drawing collective Geometría pueblo nuevo, with which they made the graphic novel SED DE ÉXITO for Mónica Heller's exhibition at the Argentine Pavilion of the 59th Venice Biennale. They participated in the Gasworks residency, London, 2023, in alliance with URRA, thanks to the support of Erica Roberts and the collaboration of the arteBA Foundation.

Artists

Davi Pontes (b. 1990, Rio de Janeiro, Brazil) will use the Grant to finish an ongoing trilogy with the production of the third film, where he explores choreography, black queer culture, speculative imagination and the desire to re-examine the ways in which stories are told. His artistic and intellectual practice is committed to anti-colonial strategies elaborated through the radical relationship between raciality and choreography.

Davi Pontes (b. 1990, Rio de Janeiro, Brazil) is an artist, choreographer and researcher. He holds a Bachelor of Arts and a Master's degree in Contemporary Art Studies, both from Universidade Federal Fluminense. He received the ImPulsTanz Young Choreographers Award (2022) and the Artlink Award (2022). Pontes participated in the 35th São Paulo Biennial, 2023. He choreographed the work Variação for the Balé da Cidade de São Paulo and is one of the artists of the 38th Brazilian Art Panorama at MAM SP, 2024. Since 2011, he has presented his work in national and international spaces and festivals, including the University of Pennsylvania (USA), My Wild Flag (Stockholm), Pivô (São Paulo), Centro Cultural de Belém (Lisbon), Museu de Arte do Rio de Janeiro (Rio de Janeiro), Zodiak-Center for New Dance (Finland), among others. He participated in numerous national and international residencies, such as ImPulsTanz 022 [8: tension] (Austria) and Residência em Pesquisa Artística do MAM Rio, among others. He directed the film ‘Delirar o racial’ in collaboration with artist Wallace Ferreira.

Art and social engagement

Aldeia-Escola-Floresta (Brazil) will use the Grant for the community art program of the Maxakali indigenous people in Minas Gerais. By bringing together the different generations through art, these workshops are a strategy of the community leaders to transmit their identity and culture, in addition to providing a space of attention to children and youth, encouraging them to imagine a future for themselves through art.

Aldeia-Escola-Floresta is a community project of the Maxakali indigenous people in Minas Gerais, Brazil. Founded in 2021 by the couple of teachers, artists and filmmakers Sueli and Isael Maxakali, together with local leaders and sympathizers, it is constituted as a space for knowledge exchange, reforestation, restoration of springs, art and film workshops and strengthening of the musical, ritual and cosmological complex known as yãmĩyxop. With the aim of strengthening the transmission of their traditional knowledge and arts, the community performs its rituals with the yãmĩyxop (the spirits of the Atlantic Forest) and has created new contexts for the transmission to be strengthened and multiplied. Since its foundation, shamans, cultural specialists, teachers and leaders have organized workshops for collective learning of artistic practices, aimed at youth and children. These occasions combine the sharing of Yãmĩyxop stories and traditional Maxakali knowledge with the languages and media of the visual arts, such as drawing, painting, watercolor, weaving, installations and graphic techniques.

Art and social engagement

Archivo de la Memoria Trans (Argentina) will use the grant to expand its archive of the history of Trans people in Latin America by digitizing, preserving, researching, and disseminating their work with educational programs that cultivate inclusion.

The Archivo de la Memoria Trans is an organization dedicated to preserve, amplify and dignify the history of the trans community in Argentina and Latin America. Since its creation, it has focused on compiling testimonies, documents, photographs and other materials that relate the lives and struggles of trans people, with the aim of building a collective memory that allows us to understand the past, and to value their contributions to society. The Archive has developed a practice that combines historical research with artistic expression, transforming the archives into powerful tools for denunciation, education and empowerment. It includes exhibitions, publications, performances and collaborations with visual artists, writers and filmmakers. Recent exhibitions include: Choreographies of the Impossible, São Paulo Biennial; Our Codes, Leslie Lohman Museum, NY; Our History, Museo del Bicentenario, Buenos Aires. It has developed an online platform that allows users to explore the archive, access educational resources and participate in virtual activities. It has also promoted educational projects aimed at schools, universities and communities, including workshops, conferences and seminars. The Archive contributes significantly to the visibility and dignity of the trans community, promoting a more just and inclusive society.

Organizations

Instituto Tele Arte (Chile) will use the Grant for the production of five exhibitions presenting emerging artists from Chile, Argentina, and Puerto Rico, three of which will include residencies for the participating artists.

Instituto Tele Arte is a non-profit self-managed art space dedicated to the promotion of contemporary art. Its exhibition program seeks to challenge conventions and stimulate reflection. Founded in 2016 by Sebastián Salfate and Enrique Flores, it is located in the neighborhood 10 de Julio, an area known for the automotive parts trade. Using two commercial premises as exhibition spaces, the Institute establishes an unusual relationship with passers-by, transforming them into passive spectators who interact with the works on display. Its surroundings become a catalyst for the project, allowing it to overcome territorial barriers through dialogue and collaboration with neighbors, public, managers, curators and artists. The Institute operates in proximity with Fundación Meteoro, directed by Paulina and Josefina Mellado, with whom it actively collaborates through residencies.

Organizations

The Marc Museum (Argentina) will use the Grant to produce the series of exhibitions "La Guerra es una gran porquería" (‘The War is a Filthy Thing’), related to the Chaco War (1932-1935). The shows are intended to recover the museum's foundational Americanist vocation and, for the first time, will include the participation of artists and curators from other Latin American countries, making possible the salvage of historical pieces, promoting the restitution of others to their original contexts and reactivating processes of memory and identity. The support will be granted to the Association of Friends of the Historical Museum of Rosario.

Museo Histórico Provincial de Rosario “Dr. Julio Marc” was inaugurated in 1939 in Rosario, Argentina, with the mission of reflecting on national identity rooted in a fusion of the indigenous and colonial past. Its monumental building was designed by Ángel Guido, being the first and only building in the country designed and built especially for a history museum. Since 2017, its Director Pablo Montini has consensualized a new mission for the Marc Museum to become an inclusive museum that celebrates diversity and plurality with the purpose of critically revealing the history of the inhabitants and territories of South America, Argentina, and the province of Santa Fe, connecting the past with the problems and social demands of the present. The Museo Marc is dedicated to expand, preserve, research and disseminate its collection, promoting the encounter of diverse audiences with history and its sources, through multiple, transformative, and innovative experiences.

Publications

El Flasherito (Argentina) will use the Grant to produce its first book-format publication, gathering 10 years as a collective and independent art journal that has already published 21 print editions and nearly 500 online articles. El Flasherito serves as both a platform to amplify the actions of its scene and a living archive of recent years.

El Flasherito diario is an independent contemporary art and related publications founded by Argentine artists Andrés Aizicovich, Leo Estol, and Liv Schulman. It is recognized as a space for reflection and writing among peers, and for the past ten years, it has covered numerous exhibitions, books, performances, and expressions that do not always receive coverage from major media outlets. The platform rethinks the role of writing and criticism, expanding its scope, considering writing as an artistic gesture rather than a literary genre. El Flasherito’s work revolves around an urgent need to make visible the social function of writing—a daily journal that advocates for a living form of criticism, capable of making bold connections, investigating, asking questions, and making mistakes. It is conceived as a structure capable of moving freely across the borders of writing without a passport, navigating criticism as a creative platform, fiction, whimsy, judgment, and looseness.

Publications

Claudia Martínez Garay (b. 1983, Ayacucho, Perú) will use the Grant to produce the first compilation of her work, which will feature images and texts about her production as well as essays, conversations and collaborations with renowned curators.

Claudia Martínez Garay studied at the Pontificia Universidad Católica del Perú in Lima. Her work deals with the socio-political memory and history of Perú, and its relationship with propaganda, iconography, and official and unofficial visual archives. Martínez Garay’s practice encompasses painting, sculpture, printmaking, video, and site-specific installation. She has received recognitions and grants such as: LOOP Acquisition Award (2019); Emerging Artist Award - Commission Grant, CIFO Cisneros Fontanals Art Foundation (2018); Van Bijlevelt Fellowship (NL, 2017); Prince Claus Fund for Culture and Development (NL, 2015) ; First Place in the XIV Passport for an Artist (award of the French Embassy, 2011); Honorable Mention and 2nd place in the First and Second National Painting Competition Central Reserve Bank of Peru (2009 and 2010), among others. She lives and works between Amsterdam and Lima.

Artists

Paula Castro (b. 1978, Buenos Aires, Argentina) is a visual artist. She studied Graphic Design at the University of Buenos Aires and in 2015 she participated in the Artists Program of Universidad Torcuato Di Tella. She received the 3rd prize in sculpture at the Visual Arts Contest of FNA (2020), the Creation Scholarship from FNA (2019), the Oxenford Collection Travel Grant (2018), and the Individual Aid for Plastic Arts Projects from the City Hall of Paris, France (2011). She had solo and group shows in Argentina, France, Belgium, Spain, and the United States. Castro has lived in Paris for eight years and currently resides in Buenos Aires.

The Grant will be used for the production of sculptural works conceived in relation to the public space, based on an ongoing research project. The artist will produce a series of sculptural recreational games that review and investigate playful situations found in fragments of works from Argentine art history.

Artists

Campo Sucio is a collective project led by visual artist and writer Teresa Puppo (b. 1952, Montevideo, Uruguay) and multidisciplinary artist and landscaper Alejandro O'Neill (b. 1986, Rivera, Uruguay). Campo Sucio aims to transform the perception of local flora in Uruguay and culturally reintegrate so-called "weeds," questioning the hegemonic narrative surrounding the natural landscape.

The Grant will be used to replicate a "chircal," a community of low-maintenance plants that adapt to the local climate without the need for irrigation. 450 m2 plot will be planted in the North Courtyard of the EAC (Espacio de Arte Contemporáneo) in Montevideo. To create the garden, a call will be made to art and landscaping students, generating a space for collaboration and reflection on natural resources, local identity, and nature.

Artists

Rafael RG (b.1986, Guarulhos, Brazil) is a visual artist and writer. He gained his BA in Visual Arts from the University of Fine Arts of São Paulo. His practice focuses on sexual and affective relationships and their political implications as well as issues of racial identity. Working with institutional and personal archives, he presents his research through workshops, installations, performative texts, publications and objects. His residencies include Black Rock Senegal, Dakar (2019): Gasworks, UK (2018); and The Iberê Camargo Scholarship for residency at Künstlerhaus Bremen (2014), among others. His works were included in various exhibitions in Brazil, Germany, Colombia, Spain, Poland and Australia. He lives and works between Guarulhos, Recife and São Luís, Brazil. He lives and works between Belo Horizonte and São Luís, Brazil.

The Grant will be used for the production of new work. The project Caminhos da Liberdade has as its starting point the research on escape routes that enslaved Afro-descendants developed in three Brazilian territories that have had different events related to the history of emancipation: Bairro do Bexiga (SP), Redenção (CE), and Florianópolis (SC).

Artists

Sofía Córdova (b. 1985, Carolina, Puerto Rico) is an artist whose work considers science fiction as an alternative history, the liberating dimensions of music, colonial contamination, climate change and migration, the revolution - both historical and imagined - within the matrix of class, gender, race, late capitalism, and its technologies. Recently, her work was featured in Aperture magazine and was part of the exhibition There Is No Post-Hurricane World: Art and Activism after Maria at the Whitney Museum, New York. She currently resides between Oakland and Puerto Rico.

The Grant will be used for the production of video for the series The Hand of Work, which the artist has been developing as part of GUILLOTINÆ WannaCry, a project that examines various sources of struggle and resistance, and how organizing is historicized.

Art and social engagement

Solar dos Abacaxis is an autonomous and collaborative institution dedicated to experimentation through art and education. Its purpose is to develop, strengthen, and radiate initiatives that seek social transformation through cultural, artistic, and educational projects. Based in Rio de Janeiro, but with activities throughout Brazil, it is devoted to the development of new forms of institutional and curatorial practice that, based on alternative value systems, can contribute to the construction of more fairer, powerful, and pleasurable relationships both within and outside the art system.

The Grant will be used for the new initiative called OFICINA SOLAR, which will provide opportunities for six national artists in vulnerable situations to participate in the first cycle of their residencies. The program will include social and curatorial support, travel and accommodation assistance, a research grant, and studio space.

Art and social engagement

Ruta del Castor is a non-profit organization that emerged from a commitment and interest in art and politics, the role of the artist as a social agent, and the dialogue that art fosters in the public space. Since 2017, they have carried out CASACUNA, an artistic residency program in collaboration with the community of children and women caregivers at the children's shelter Casa Cuna la Paz. Among the residents and collaborators are Pedro Reyes, Abraham Cruzvillegas, Galia Eibenschutz, Manuela de Laborde, and Ana Gallardo, among others.

The Grant will be used for a pilot program, replicating CASACUNA. This new residency project will continue to deepen the work carried out and reinforce the objective and importance of the consistency and long-term duration of social interaction art. It will reinforce the mission of generating spaces for mutual learning between artists and communities in vulnerable situations.

Organizations

Founded in 2013, La Nueva Fábrica is a non-profit contemporary art space based in Antigua, Guatemala, that works to empower diverse communities through art. With a clear commitment to supporting artistic experimentation, critical thinking, and social justice, it seeks to create pedagogical opportunities through art and visual culture. Their initiatives include exhibitions, public programs, educational and sustainable development projects, artistic residencies, and multidisciplinary workshops.

The Grant will be used to support the 2024 residency program and the launch of a social inclusion and gender axis for Centroamerican artists. The residency is open to artists, curators, educators, students, and diverse communities, and focuses on the management and development of selected projects, providing support and guidance to participants in their respective languages.

Organizations

Travesías Terremoto is the new project of Terremoto, a cultural platform dedicated to critical thinking around contemporary art in the Americas. Founded in 2013, Terremoto has evolved into a non-profit organization, diversifying its branches of activity, audiences, and outreach channels. Travesías Terremoto is a research residency program for Latin American artists, with the aim of exploring decentralized territories on the continent and creating spaces for collective reflection. Each annual edition seeks to bring together five artists in a specific territory to develop an interdisciplinary research theme.


The Grant will be used for the first volumeof the residency, titled Interplanetary Simulations, which brings together artistic and scientific practices to explore space conquest, planetary imagination, and the possibilities of the cosmos in the face of a bleak future on Earth. The residency will be accompanied by a public program, a printed publication, and a series of unpublished texts.

Publications

[NAME] Publications is dedicated to creating books with an emphasis on often marginalized stories and practices in dominant art and design narratives. The publishing house facilitates the production of books by artists, designers, curators, and scholars whose practices are rooted in the Americas. Co-directed by curators Gean Moreno and Natalia Zuluaga, it disseminates these titles and reaches new audiences through exhibitions, public programs, and the recovery of archival materials.

The Grant will be used to produce a bilingual publication edited togheter with Cuban artist Glexis Novoa (b. 1964, Holguín, Cuba). This illustrated volume compiles studies, artworks, over 400 photographs, and archival material documenting the performance art movement in 1980s Havana. It will present visual and textual information on all of the performances and ephemeral artworks produced on the island.

Publications

Ticio Escobar (b. 1947, Asunción, Paraguay) is a curator, professor, and cultural promoter. He served as the president of the Association Support to Indigenous Communities of Paraguay, director of Culture of Asunción, and Minister of Culture of Paraguay from 2008 to 2013. He has published around twenty books on art theory and culture. He has received various awards, including the Bartolomé de las Casas Prize for his support of indigenous causes in the Americas. He currently serves as the director of the Centro de Artes Visuales/Museo del Barro in Asunción.

The Grant will be used to compile unpublished essays and critical analyses authored by Ticio Escobar, with the aim of publishing and promoting contemporary arts from Paraguay. This project seeks to gather, complete, edit, and publish extensive scattered material related to the work of the most prominent Paraguayan artists, spanning the late 20th century and the corresponding years of this century. Considering the goal of disseminating the recovered material, the publication will take the form of a freely available digital book.