June 13, 2024

José Ignacio, Uruguay

Fundación
Ama Amoedo

Ed #32024

Jury

Federica Baeza

Federica Baeza is an Argentinean researcher, professor, and curator who specializes in contemporary art. She holds a PhD in Theory and Art History from the University of Buenos Aires (UBA). At age 40, she starts to transition and self-perceives as a trans woman. Her personal experience encourages her to implement cultural policies aimed at groups of people whose rights have been impinged. This line of work is reflected in her administration at the Palais de Glace Museum. Previously, she worked in the management office of the Curatorial Studies degree and in the University Extension area at the Universidad Nacional de las Artes (UNA), where she has worked as a professor for degree and master’s degree levels since 2006. From 2003, as a curator, she has staged a great number of exhibitions and public programs. She is the author of books and articles about visual arts.

Ed #32024

Jury

Sofía Hernández Chong Cuy

Sofía Hernández Chong Cuy is director of Kunstinstituut Melly, the institution formerly known as Witte de With Center for Contemporary Art in Rotterdam. She is also a board member of International Foundation Manifesta. From 2011 to 2017, Sofía was the curator of contemporary art at Colección Patricia Phelps de Cisneros, which has headquarters in Caracas and New York. In the past, Sofía has been director of Museo Tamayo in Mexico City and held curatorial positions in New York at Art in General and Americas Society. She has guest-curated exhibitions for The Bronx Museum of the Arts in New York, Kadist Art Foundation in Paris, MALBA in Buenos Aires, and the Center for Contemporary Art in Vilnius, among other places. In 2013, Sofía was artistic director and chief curator of the 9 Bienal do Mercosul, Porto Alegre in Brazil; before that, she was an agent of dOCUMENTA(13) in Kassel. Sofía was born in Mexicali, Mexico and currently lives in Rotterdam, The Netherlands.

Ed #32024

Jury

Pablo José Ramírez

Pablo José Ramírez is a curator, writer, and cultural theorist. He is currently curator at the Hammer Museum, Los Angeles, and was the inaugural associate curator for Indigenous and First Nations Art at the Tate Modern, London. His work delves into non-Western ontologies, brown and indigenous histories, and the politics of non-colonial aesthetics. In 2015, he co-curated the 19th Bienal Paiz Trans-visible with Cecilia Fajardo-Hill. Ramírez was the recipient of the Independent Curators International/CPPC Award for Central America and the Caribbean in 2019, and is the co-founder of Infrasonica. He has given lectures at various institutions, including the Museo Centro de Arte Reina Sofía, the National Museum in Oslo, MUAC, Gasworks, ParaSite, Kunstintituut Melly, CapeTown University, Essex University, Cambridge University, Simon Fraser University, and The New School, among others. His extensive writings include contributions to Artforum, e-flux, Arts of the Working Class, and various catalogs and books. Ramírez was part of the curatorial team for the 58th Carnegie International and currently serves as the co-curator, alongside Diana Nawi, for the Hammer Museum's Made in LA 2023: Acts of Living Biennial.

Ed #32024

Artist

Luiz Roque (Cachoeira do Sul, Brazil, 1979) is attracted by the power of image and, in particular, by sensations that stem from the sense of vision, crossing in his work different territories, such as the genre of science fiction, the legacy of Modernism, pop-culture and queer bio-politics. He has had solo exhibitions at CAPC, Bordeaux (2023); PROA21, Buenos Aires (2022); VAC, Austin (2021); Pivô, São Paulo (2020); CAC Passerelle, Brest (2020); New Museum, New York (2019); MAC Niterói, Rio de Janeiro (2018); Tramway, Glasgow (2017), amongst others. His work has been included in group exhibitions in places like the 12th Göteborg Biennial for Contemporary Art, (2023); The Museum of Modern Art in Warsaw (2023); 59th International Biennale di Venezia, Venice (2022); MASP, São Paulo (2017), MoMA PS1, New York (2016) and the 32nd São Paulo Biennial (2016), amongst many others. He lives and works in São Paulo, Brazil.

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Ed #32024

Artist

Dulce Gómez (Caracas, Venezuela, 1967) studied art at the Escuela de Artes Visuales Cristóbal Rojas (1983-1986). Later, she earned a Bachelor's degree in Fine Arts from the Universidad Experimental de las Artes (2010) and she holds a Master in Fine Arts from the Universidad Central de Venezuela (2019), both in Caracas. From the beginning of her career, she was interested in working with three different media: painting, assembly, and installation. In 2009, the artist traveled to New York to participate in a residency program for artists living outside the United States offered by The Bronx Museum. She attended the recognized Seminar Artist in the Marketplace Program. In 2022, she opened ‘Bookinist’, a bookstore located in Caracas, which has emerged as a space for talks and meetings about art, literature and philosophy. She lives and works in Caracas.

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Ed #32024

Artist

Andrés Pereira Paz (La Paz, Bolivia, 1986) studied at the Academia Nacional de Bellas Artes Hernando Siles and at the workshops of Diana Aisenberg and Roberto Valcárcel in his native La Paz, Bolivia and Buenos Aires.He has exhibited in different art spaces and institutions, such as 80m2 Livia Benavides Gallery, Lima (2023), Guadalajara90210 gallery, Mexico City (2023); Buenos Aires Museum of Modern Art (2023); MAAT Gallery, Paris (2023); Denver Art Museum (2022); Future Generation Art Prize, Pinchuk Arts Center, Kiev (2021); Art Basel Statements, Basel (2021); the 11th Berlin Biennale (2020); Kiosko Galería, Santa Cruz de la Sierra;Gasworks Open Studios,London (2017). His works are included in public collections such as MCA Chicago, Denver Art Museum, KADIST San Francisco, among others. He lives and works in México City.

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Ed #32024

Artist

Venuca Evanán (Lima, Perú, 1987) is a visual artist, activist, and educator. Venuca’s work is rooted in the artistic heritage of the Sarhua community in southern Peru, to which she belongs. In her work, she uses traditional elements such as earth, natural dyes, and feathers. Her pieces address issues such as eroticism and gender, feminism and sexist violence, and the struggles of migrant populations that affect her personally and that are constants in their marginalized community. Venuca’s work is a constant tension between tradition and transgression to put urgent issues on the table and, at the same time, generate interest in traditional practices in the younger generations of her community. She lives and works in Lima, Peru.

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Ed #32024

Artist

Alejandro Cesarco (Montevideo, Uruguay, 1975) is an artist, publisher, and curator. He has exhibited in museums and galleries in Latin America, the US, and Europe. Amongst them: The Museum of Modern Art (NY), Museo Rufino Tamayo (Mexico), Tate Modern (London), The Renaissance Society (Chicago), Frac Île-de-France/Le Plateau (Paris), Malba (Buenos Aires), Mumok (Viena), Salomon R. Guggenheim (NY), Artium Museo de Arte Contemporáneo del País Vasco (Vitoria), Walker Art Center (Minneapolis), Kunsthalle Basel (Basel). He represented Uruguayan the 54 Venice Biennale (2011) and participated in the Bienal de São Paulo on two occasions. He is Director of A.rt R.esources T.ransfer, a non-profit arts organization based in New York, and Professor at Malmö Art Academy (Sweden). He lives and works in Madrid.

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Ed #32024

Artist

Nina Kunan (Buenos Aires, Argentina, 1990) is a visual artist. Her artistic practice is based on the mastering of textile techniques and different materials applied to public space, objects, architecture, fashion, and design. She holds a degree in Art History from Universidad de Buenos Aires (UBA). She studied sewing and upholstery. She also attended workshops and art critiques with Marina de Caro, Carla Barbero & Javier Villa, and Eduardo Stupía. In 2018, she participated in the artist program for the Center for Artistic Research (CIA) in Buenos Aires. From 2020 and ongoing, she opened her sexi-shop Arrepentida, where she offers a curated selection of erotic toys and creates her own accessories. In 2022, she exhibited at Jamaica Gallery, Revolver, Federico Klemm Foundation, Santander Foundation and UNLP Arts Centre, all in Buenos Aires. In 2021 she was part of the KM1 program at the Modern Museum in Buenos Aires. She won the BECAR Cultura Exchange Scholarship (Turin, 2019) and the Art Week Award (Buenos Aires Ministry of Culture, 2021). She lives and works in Buenos Aires, Argentina.

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Ed #022023

Jury

Solana Chehtman

Solana Chehtman is an Argentinian curator and cultural producer based in New York City. She is Director of Artist Programs at Joan Mitchell Foundation. She was the inaugural Director of Creative Practice and Social Impact at The Shed, where she led commissions and artist programs such as Open Call and Up Close. Prior, she was Vice President of Public Engagement at Friends of the High Line, where she created, curated and produced experimental site-specific performance series, as well as socially engaged projects. She co-curated Un panorama de este mundo with Daniel Birnbaum from Acute Art at Fundación Proa (Buenos Aires) and was a NYC Virtual Curator for NYC & Co. (New York). She collaborated with cultural institutions, including Creative Time, the New Museum, and the Queens Museum. Chehtman holds a Master in Education Policy from Columbia University.

Ed #022023

Jury

Miguel A. López

Miguel A. López is a writer, researcher, and curator who lives and works in Lima, Peru. Between 2015 and 2020 he worked at TEOR/éTica (Costa Rica), as Chief Curator and since 2018 as Co-director and Chief Curator. Recent curatorial projects include Sila Chanto & Belkis Ramírez: Aquí me quedo / Here I Stay at ICA-VCU, (Richmond,2022); And if I devoted my life to one of its feathers?, Kunsthalle Wien, (Vienna,2021); and the retrospective exhibition Cecilia Vicuña, Seehearing the Enlightened Failure, Witte de With, (Rotterdam,2019), which traveled to MUAC-UNAM (Mexico City,2020), CA2M (Madrid,2021), and Banco de la República (Bogotá, 2022). Recent books include: Dissident Fictions in the Land of Misogyny (2019), and Stealing History: Counter-narratives and Oppositional Art Practices (2017). López is also a co-founder of Bisagra (Peru). His writing has appeared in Afterall, Artforum, Art in America, E-flux journal, and Art Nexus, among others.

Ed #022023

Jury

Tobias Ostrander

Tobias Ostrander is the Estrellita B. Brodsky Adjunct Curator, Latin American Art for Tate Modern. In 2022, he was the Curatorial Advisor for the Aichi Triennale 2022 (Japan). He was Chief Curator and Deputy Director of Curatorial Affairs at Pérez Art Museum (Miami, 2011-2019), and a founding member of Tilting Axis, a platform for artists, curators and creatives in the Greater Caribbean region, from 2014-2019. Previously, Ostrander was Director of Museo Experimental El Eco (2009-2011) and Chief Curator of Museo Tamayo (2001-2009), both in Mexico City, and Associate Curator of inSITE2000 in San Diego and Tijuana (1999-2001). From 2007-2012, he was a founding member of the Hub Inter-Institutional Museum, initiated by the New Museum (New York). He has held positions at the XXIV Bienal de São Paulo (Brazil), El Museo del Barrio and the Brooklyn Museum of Art (New York).

Ed #022023

Artist

Rita Ponce de León (Lima, Peru, 1982) is an artist with a focus on drawing and installation. She is currently studying psycho-corporal techniques for human development at the Argentinean organization Rio Abierto. Ponce de León understands working as the way in which she can engage in situations that allow the generation of meaningful human bonds, although these might be ephemeral, for which the body can allow intuitive encounters that feel useful. She has approached practices such as butoh, Aikido, and several workshops that address body movement as the origin of knowledge and wisdom. She condenses this range of processes into drawing to share her thoughts in the form of visual essays. Her work was shown at the 32nd São Paulo Biennial (Brazil), Pueblo originario San Simón Ticumac (Mexico), Kunsthalle Basel (Switzerland), 80M2 Livia Benavides gallery (Peru), Sala de Arte Público Siqueiros (Mexico), among others. Her work has been published in Vitamin D2: new perspectives in drawing (2013). She currently collaborates with poets Yaxkin Melchy, and Shinnosuke Niiro, butoh dancer Emilie Sugai, and somatic educator Joelle Gruenberg. Lives and works in Mexico City, Mexico.
During the FAARA residency, Rita Ponce de León continued her investigation into the working method of Uruguayan dancer, therapist, and choreographer Graciela Figueroa and the space Río Abierto. She also focused on her paper works, incorporating drawing and writing.

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Ed #022023

Artist

Paola Monzillo (Montevideo, Uruguay, 1986) explores cartographies and historical illustrations to question the supposed ideological neutrality of these devices. Trained in architecture and art, Monzillo reflects on territories as spaces of reconfiguration, investigating fissures and crossroads that give life to alternative fictions of representation. She has exhibited at the Museo Nacional de Artes Visuales (Montevideo), the Museo de Arte Moderno de Medellín (Colombia), the Museo de Arte Contemporáneo de Lima (Peru), the Museo de Arte Contemporáneo Africano Al Maaden (Marrakech), among others. She participated in the Montevideo Biennial (2014), the Mercosur Biennial (2015) and the International Biennial of Contemporary Art of South America - BIENALSUR, (2017, 2019 and 2021). She received the FEFCA Justino Zavala Muniz Scholarship (2016) and the Eduardo Víctor Haedo Scholarship (2018). In 2021, she won the first Acquisition Prize of the 50th Montevideo Visual Arts Award. Lives and works in Montevideo.
During the FAARA residency, Paola Monzillo dedicated herself to perfecting weaving practices, connecting with local weavers, and tracing the supposed myth that the Palmar de Rocha was part of a vegetal corridor that extended to southern Africa when the current continents were part of Gondwana.

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Ed #022023

Artist

Seba Calfuqueo (Santiago, Chile, 1991) is a visual artist and curator at Espacio 218. They are part of the Mapuche collective Rangiñtulewfü and Yene Revista. Of Mapuche origin, their work recurs to their cultural heritage as a starting point in order to propose a critical reflection on the social, cultural, and political status of the Mapuche subject within contemporary Chilean society. Their work includes installation, ceramics, performance, and video, with the aim of exploring the cultural similarities and differences between the crossing of Indigenous and Western ways of thinking, as well as their stereotypes. Their goal is alsoto make the issues regarding feminism and queer theory visible. Their work is part of the KADIST collection (France), Museu de Arte Contemporânea do Rio Grande do Sul - MAC RS (Brazil), Museo Nacional de Bellas Artes and MAC (Chile), among others. They obtained the Municipalidad de Santiago Award (2017), the FAVA Foundation Award (2018) and the Eyebeam Fractal Fellowships Award (2021). Lives and works in Santiago, Chile.
During the FAARA residency, Seba Calfuqueo investigated the history of Uruguay in terms of its indigenous population and connected with various activists. She also collected local clays and within the studio, focused on ceramics and drawing.

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Ed #022023

Artist

Florencia Sadir (San Miguel de Tucumán, Argentina, 1991) is an artist who explores her native land of the Calchaquí Valleys, and investigates inherited knowledge and community learning. Her installations, sculptures and drawings are composed with natural materials, such as clay or basketry woven with vegetable fibers, to create objects that invite us to reflect on how the times of work, production and consumption have become disconnected from life cycles. She studied at the Faculty of Arts of the National University of Tucumán. She completed the Artists Program 2020-2021 at the Universidad Torcuato Di Tella (Buenos Aires) and a study program at the Escuela Flora Ars + Natura (Bogota). In 2021, she presented the solo exhibition Todavía las cosas hacían sombra, at the Museo de Arte Contemporáneo de Salta (Argentina), curated by Andrei Fernández. In July 2022, she was artist-in-residence at the Aichi Triennial, Still Alive, directed by Mami Kataoka. Her works are part of public and private collections in Argentina, Chile and Colombia. She lives and works in San Carlos, Salta.
During the FAARA residency, Florencia Sadir explored the territory through the relationship of its inhabitants with the land and sea. In this context, she approached fishing practices, permaculture, and Uruguayan ceramic production using local clays.

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Ed #022023

Artist

Marilyn Boror Bor (San Juan Sacatepéquez, Guatemala, 1984) is a Mayan-Kaqchikel artist who questions patriarchy and racism through photography, painting, printmaking, installation and performance. She holds a degree in Fine Arts from the Universidad de San Carlos de Guatemala. She was a Fellow of the Utopia Foundation (Spain, 2016), received the Espira/La Espora Residency for Emerging Central American Artists grant three times (Nicaragua, 2011-2014) and participated in residencies and conferences in the United States, Central America, Mexico, Germany, Chile and Spain. Her work has been presented at the Museo de Arte Contemporáneo de Puerto Rico (San Juan), the Museo de Arte Contemporáneo de Panamá, the Museo Reina Sofía (Madrid), the Galerie im körnerpark (Berlin), WhiteBOX (Munich), the Museum of Contemporary Art Santa Barbara (California), the Museo Precolombino de Arte Chileno (Santiago) and the NUMU (Guatemala), among others. She participated in the Bienal Internacional de Arte Contemporáneo del Sur (Guatemala, 2021), the Bienal en Resistencia (Guatemala, 2018 and 2021), the Bienal de Arte Paiz (Guatemala, 2014, 2016 and 2021). Lives and works in Guatemala.
During the FAARA residency, Marilyn Boror Bor worked on the social perception of indigenous populations in Uruguay, contacting activists and visiting museums and memory spaces. She also used the studio at Casa Neptuna to work with Salsipuedes soil, creating drawings and collaborating with Uruguayan landscaper Alejandro O’Neill.

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Ed #022023

Artist

Lizania Cruz (Santo Domingo, Dominican Republic, 1983) is a Dominican participatory artist and designer interested in how migration affects ways of being & belonging. Through research, oral history, and audience participation, she creates projects that highlight a pluralistic narrative on migration. Cruz has been an artist-in-residence and fellow at the Laundromat Project Create Change (2017–2019), Agora Collective Berlin (2018), Design Trust for Public Space (2018), Recess Session (2019), IdeasCity:New Museum (2019), Stoneleaf Retreat (2019), Robert Blackburn Workshop Studio Immersion Project (2019), A.I.R. Gallery (2020–2021), BRIClab: Contemporary Art (2020–2021), Center for Books Arts (2020–2021), and Jerome Hill Artist Fellow, Visual Arts (2021–2022). Her work has been exhibited at the Arlington Arts Center, BronxArtSpace, Project for Empty Space, ArtCenter South Florida, Jenkins Johnson Project Space, The August Wilson Center, Sharjah’s First Design Biennale, Untitled, and Art Miami, among others. Most recently she is part of ESTAMOS BIEN: LA TRIENAL 20/21 at el Museo del Barrio. Her artworks and installations have been featured in Hyperallergic, Fuse News, KQED arts, Dazed, Garage, and The New York Times. Lives and works in New York, United States.
During the FAARA residency, Lizania Cruz continued her research on Uruguayan doctor and academic Rodolfo V Talice through his audiovisual archive. Additionally, she explored Candombe in Uruguay and its relationship with Bamboula, interviewing Lobo Nuñez.

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Ed #012022

Jury

Magalí Arriola

Magalí Arriola is Director of Museo Tamayo in Mexico City. She was KADIST Lead Curator for Latin America from 2016 to 2019, and curated the Mexican Pavilion for the 58 Venice Biennale (Pablo Vargas Lugo, Acts of God, 2019). She served as Chief Curator at Museo Jumex between 2011 and 2014, and Chief Curator at Museo Tamayo between 2009 and 2011. Arriola has extensively written for books and catalogs, and has contributed to publications such as Artforum, Curare, Frieze, Mousse, Manifesta Journal, and The Exhibitionist, among others.

Ed #012022

Jury

Inti Guerrero

Inti Guerrero is the Artistic Director of BAP – Bellas Artes Projects (Philippines) since 2018 and a tutor in the Curatorial Studies program at KASK (Ghent, Belgium). He was the Estrellita B. Brodsky Adjunct Curator of Latin American Art at Tate Modern (London) between 2016 and 2020; Artistic Director of TEOR/éTica (San José, Costa Rica) between 2011 and 2014; Curator of the 38th EVA International(Limerick, Ireland, 2018), and co-curator of the 44 Salón Nacional de Artistas, (Pereira, Colombia, 2016).

Ed #012022

Jury

Aimé Iglesias Lukin

Aimé Iglesias Lukin is Director and Chief Curator of Visual Arts at Americas Society (New York). She has a PhD in Art History at Rutgers University. She has received research grants from the Smithsonian American Art Museum, the Metropolitan Museum of Art, the Terra Foundation for American Art, and the Andrew W. Mellon Foundation, and she won the ICAA Peter C. Marzio Award from the Museum of Fine Arts, Houston. She has previously worked in the Modern and Contemporary Art Department at the Metropolitan Museum of Art (New York), the Institute for Studies on Latin American Art (ISLAA, New York), and Fundación Proa (Buenos Aires).

Ed #012021

Artist

Marcela Sinclair (Buenos Aires, Argentina) is an artist and a teacher. Her work explores themes of displacement and geometry through practices that include drawing, painting, sculpture, installation, and site-specific interventions. She received a degree from the Escuela Nacional de Bellas Artes, Buenos Aires and studied with artist Tulio de Sagastizábal. Sinclair has completed residencies at El Basilisco (Buenos Aires) and Lugar a Dudas (Cali, Colombia, 2009). She received a grant from the National Endowment for the Arts of Argentina (2012), and the first prize for sculpture from the institution (2017). Sinclair’s work has been exhibited in institutions throughout Argentina, Uruguay, Chile, Colombia, Spain, the United States, Italy, and Germany. Recent exhibitions include The future has arrived (a while ago) at Centro Cultural Kirchner, (Buenos Aires, 2016); Is she a lovely thing at Museo Cerralbo, (Madrid, 2017); and Disruptions, presented by Art Basel Cities Buenos Aires at Collins Park, (Miami, 2019).

During FAARA residency, Sinclair focused on investigating the links between the architecture of seaside cities of Punta del Este and Miami. She also worked on the production of watercolors and acrylic pieces, and participated with a site-specific work in Campo Artfest (2021), which takes place in Pueblo Garzón, Uruguay.

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Ed #012021

Artist

Sofía Gallisá Muriente (San Juan, Puerto Rico, 1986) is a visual artist who works with historical narratives, popular imaginaries and visual culture. She studied Film and TV Production and Latin American Studies at New York University. She has participated in pedagogical platforms for artists and in Beta-Local's La Práctica program. She was a resident at Museo La Ene (Argentina), Alice Yard (Trinidad and Tobago), Solar (Tenerife) and Catapult (online), and a fellow at the Flaherty Seminar (New York) and the Smithsonian Institute (Washington). Her work has appeared in The New York Times, Art in America, Terremoto and Hyperallergic. He received grants from TEOR/éTica and NALAC. She exhibited at the Whitney Biennial, the Queens Museum, ifa Galerie (Berlin), MALBA (Argentina) and CCA Glasgow, among others. She was co-director of Beta-Local (Puerto Rico). She is a fellow of the Puerto Rican Arts Initiative and the Annenberg Innovation Lab at USC. She lives and works in Puerto Rico.

During FAARA residency, Gallisá Muriente continued her project Observatorio de lagunas, which explores memory and remembrance in connection with the meanings of the word "lagoon" in Spanish. She visited lagoons in the area, conducted filming and interviews with ecologists and biologists.

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Ed #012022

Artist

Adriana Bustos (Bahía Blanca, Argentina, 1965) graduated from the School of Fine Arts and Psychology at University of Córdoba (Argentina). Her work develops a narrative discourse around social, political and religious oppression, with a non-linear interpretation of history. She participated in the biennials Dhaka Art Summit (Bangladesh, 2020), Site Santa Fé (United States, 2014) and the Montevideo Biennial (Uruguay, 2014-2020). She received the Azcuy Award (2020), among others, and participated in exhibitions in institutions and galleries such as the Centre Pompidou (Paris) and Kadist (San Francisco). Her works are part of the collections of the Reina Sofia Museum and the ARCO Foundation (Spain), the Museum of Contemporary Art of Medellin (Colombia) and the Museum of Modern Art Buenos Aires (Argentina). Lives and works in Buenos Aires.

During FAARA residency, Bustos revisited her work from the Montevideo Biennial (2014), an investigation on the historical anchoring of the construction of national identities in the Río de la Plata. In that line, she investigated the utopian projects of Francisco Piria, Antonio Lussich and Humberto Pittamiglio from the early 19th century, in Uruguay. She visited Piriápolis, the Lussich Arboretum in Punta del Este and the Pittamiglio Castle in Montevideo.

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Ed #012022

Artist

Liliana Angulo Cortés (Bogotá, Colombia, 1974) is an Afro-descendant artist who works in different regions of the African diaspora through a critical artistic practice, in search of collective strategies of cultural recovery that contribute to the struggles of Afro-descendant communities. She has a specialization in sculpture from the Universidad Nacional de Colombia, a Master in Arts from the University of Illinois (Chicago) and a Master in Anthropology from the Universidad de los Andes (Colombia). Her work encompasses performative practices, visibilization of cultural traditions, historical reparations and collaborative work with social organizations. She has had exhibitions in Colombia and internationally. She is a teacher and promoter of Afro-Colombian memory and community art. She lives and works in Bogotá.

During FAARA residency, Angulo Cortés investigated the history, memory and resistance of the Afro-descendant and indigenous communities of the Río de la Plata, historically oppressed and invisibilized. In this process, she visited the Caserío de los Negros, the outlet of the Arroyo Miguelete and the Plaza Senzala, as well as candombe socio-cultural spaces and old tenements. She also met with several Afro-Uruguayan women leaders and attended the ritual dedicated to Exú at the Casa de Quimbanda, in Montevideo.

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Ed #012022

Artist

Andres Bedoya (La Paz, Bolivia, 1978) reflects on the history of the Andean region, from the construction of a biographical narrative based on the exploration of belief systems, rituals and objects. He held solo exhibitions, including Still Life with Others, at Situations (New York, 2018); Presente, at the Centro Cultural de España (La Paz, 2017); and El viaje, at the SCAD Museum of Art (Savannah, United States, 2016). He participated in group exhibitions, such as The Waste Land, at Nicelle Beauchene (New York, 2019); The Lost Nature: Works for the Videobrasil Historical Collection (Stavanger, Norway, 2019) and Bienal do Mercosul (Porto Alegre, 2015). He participated in the Gasworks residency (London, 2019) and Urra (Buenos Aires, 2011). Brooklyn Is Burning, at MoMA PS1 (New York) is one of his curatorial projects. He lives and works in Mexico City.

During FAARA residency, Bedoya dedicated himself to learning and perfecting techniques and crafts such as dental porcelain, glass, and silversmithing in personalized workshops, encounters with artisans, and experimentations in the studio. He also connected with the personal history of his mother, who lived in Montevideo.

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Ed #012022

Artist

Noé Martínez (Morelia, Mexico, 1986) is a visual artist and filmmaker graduated from the National School " La Esmeralda" (Mexico City). In his work, he elaborates his personal history based on ethnographic methodologies and research of indigenous communities. His work participated in the Morelia International Film Festival (Mexico, 2018), the Native Crossroads Film Festival (Oklahoma, 2018), the 21st SESC Videobrasil Biennial (São Paulo, 2019) and FilmFront (Chicago, 2019), among others. He held exhibitions at The Museum of Contemporary Art Chicago and Sala de Arte Público Siqueiros (Mexico City). His work is part of the collections of The Museum of Contemporary Art Chicago, Kadist (San Francisco), and Museo Amparo (Puebla). He participated in the Clarice Oliveira Tavares Residency at the Swiss Institute (New York, 2020). Lives and works in Mexico City.

During FAARA residency, Martínez deepened his research on the memory and history of the territory. In search of contacts between African and indigenous cultures, he visited the Museum of Pre-Columbian and Indigenous Art (Montevideo), the Carolino Regional Museum (San Carlos) and the socio-cultural spaces of candombe. He also focused on finalizing his latest film and also on experimenting with navigation for a work in progress.

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