THE CAUCUS ROOM Project proposal for OVERGADEN By Javier Tapia
The authentic moment of discovery, the breakthrough, occurs when a properly universal dimension explodes from within a particular context and becomes “for itself”, and is directly experienced as universal.1
Project Description
The exhibition proposal to Overgaden that is presented here is an immersive environment with a narration based on a conceptual representation of a space for diplomacy, in this case The Caucus Room. The exhibition platform is understood as an environment. The name of the project is taken originally from a room in Washington DC, The Caucus Room, a place that captures big part of the Washington scene, with all that this entails: a sprinkling of congressmen and -women, television newscasters, and corporate VIPs; lots of backslapping and shaking of hands; and meetings taking place behind closed doors. The Caucus Room has also being adopted as a room for protocol, where people should gather for meetings and find ground for agreements. Types of Caucus Rooms are also found today at the UN building and in many hotels with meetings rooms for rent.
The environment projected is a sculptural translation of a meeting point, since no real meetings are taken place in the space and the room is presented as an art piece. The illustrative and referential elements can play a rendering role to establish a meta narration, that comments in the current status of economical and geopolitical meetings and its results as a backdrop. The reason for taking such decision is to reflect in the impossibility of universal gestures in the face of fragmented and conflicted ideologies. Art is used then, as a utopian tool for reconciliation, aesthetics as a mediated solution. Some of the topics that would install this relationship between art and geo politics will be reflected in images of war, subcultures, history, and some of the fictions related to it. Many of these topics are too global, powerful, violent and emotional, and it could seem too pretentious or naïve, or too stupid to try to solve them, however, that is the way this installation should be, because the project is rooted in the believe that in the impossibility of reaching these subjects, one could see the impossibility of art to solve them too. Outcome
The project will be structured following a logic of improvisation with pre determinate elements such as a collection of flags, a series of drawings and collages, sculptures, selected objects and fabrics, all virtually framed under the construction of semi stages or light tables. Other possible materials that can be adapted to this construction are blocks of Styrofoam and “stlladser”, wood, cast heads, foam and glass. The work aims to be an intuitive environment with a pre made concept, in this case The Caucus Room.
The final shape of the show will be developed once the installation process starts in Overgaden and the different elements are staged to play with each other. A minimal result, or a very structured and composed space with several elements, such as tables, flag poles, extra lightning and screens can also be expected as a result, however, always keeping in mind that the principle of an immersive environment is the ground motivation to this piece. The reason to work with an open range of mechanics/types of display raises after the idea of the institutional critique as such, in fact, the self-curatorial practice and place for improvisation, with the pre-selected elements, is closer to the idea of an adventure, stimulating discovery or an attempt to experimentation, that we hope, Overgaden stands for. The subjects and symbols in use will emphasize the conceptual nature of the show, repositioning the thoughts under it and creating a multi dimensional theatre.
Certain pieces inside this environment aims to bring a sense of nostalgia, since in the post modern times we are living, the critique to the fundamental formal techniques of art are blurred between videos and computer generated images, however, this contrast will be possible precisely with the installation of video projections or screens, in combination with the more formal techniques such as collage and ready made.
One projected video is a recording of Wall Street’s electronic stocks board. This specific piece is addressing the contemporary state of the world’s economy and the political agendas attached to it, generating a background image for the established sculptural situation.
The self stage of the installation will be made according to the space where Overgaden decides to host the show, nevertheless, the improvisational approach to the work that we are mentioning here will take place under a clear frame made out of levels; in order to illustrate hierarchies where the different parts of the work will activate the narration of the environment. We believe that this show can be adaptable to all the rooms that Overgaden contains and therefore we are not making a specific request regarding the space.
This specific work is the continuation of several projects and publications from 2009 (see attached material). We hope you can see the potential and the energy behind this project. We are sure that by given the chance to work in collaboration with Overgaden, we can make a great show and a contribution to the year’s exhibition program and the Danish Art scene.
Illustrations
Senate Caucus Room – Washington DC, 2011
Wall Street’s electronic Stocks board
Lina Bo Bardi – Glass House, Sao Paulo. – Meeting Room / Caucus Room
BUDGET
Film Project * (in New York) Camera / Photo / Edition Assistance 35.000 Kr. Technical Equipment ( Lens, Camera, Media Player) 35.000 Kr. HD Projector 15.000 Kr.
Installation materials 15.000 Kr. Construction ( wood, cement, glass, styrofoam) Div. tools and metal hooks
Chains
Paint- General materials 20.000 Kr.
Office materials (tape, glue, markers).
2 rolls 10 mt. 300gr. Canson Paper
Photo Prints
Framing
Foam figures
Clay figures
Fabrics
Lightning equipment
Metal and furniture’s (2nd hand)
Glass plates
Small diverse articles from boutiques.
Transport 2.000 Kr.
2 Assistants (1 week ) 10.000 Kr. Artist 4 weeks honoraries 16.000 Kr.
TOTAL 148.000 Kr.
ABOUT MY WORK / artist statement By Javier Tapia
The following text is presented as a personal interpretation of my work as an artist. It is one way of explaining what I do and how I see it.
My work could be understood as a chain of things that folds into each other. I like to be open to the use different medias and resources to achieve the visions and ideas I have for every project that I am involved. Because I like to challenge myself, I like to challenge my work and the capacity of expanding it. For that reason, by using personal and common subjects, I try to structure a new game of relations that could be understood as a language. After a project has been presented I like to stop and look at the way I have used things, elements or strategies in a particular context. It is in this moment when I see that the same things have different meanings at different points in my work, which has made me more and more aware of the use I give to the different elements. Proceeding in that way, I must say that global history, art history, politics and my personal background are themes that are revealed in different layers when I propose my works, not as frontal as it could be expected. Sometimes, because of my way of working, I face weird situations or mistakes in the process that might be appreciated with a degree of ambiguity; nevertheless when I am aware of those details I can see a big potential to learn and bringing up new ideas, this part of the process could be always translated in new works or projects.
Usually I get an idea and I see the possibilities of developing it. Sometimes I succeed carrying the projects from the idea to the factual piece, sometimes I don’t, and that is the reason why I see the medias I use, such as painting, drawing, video, sculpture and photography, as tools to create a net that becomes a sort of a language when everything is in perspective. The process I follow can be seen as a wave or an avalanche, where stuffs and materials are added, and then as a result, the meaning also is expanded. At some point this wave also can crash at something and the different meanings could be dispersed. Style or forms are things that are coincidental in my practice, because I do work using a lot of instinct. I like to be critical of my own knowledge, because I tend to believe that my own way of thinking is probably the thing that I know the least about. Because of this, I like to work on expanding my knowledge about things and using them as tools as well. In that way I like to think that my work has the capacity of adopting anything and its form could be a constant variable in time. I like to always leave open doors, for example, I don’t know if all the works and projects are fully finished. My mistakes could be understood as goals or good things, as I have mentioned before, because I see them as a manifestation of my will to try to make art or a comment to the idea of success. For the same reasons I like to believe that the works or projects I propose are displayed in different levels. The viewer never see everything that is behind the pieces, but is, on the other hand, completing the meaning of the project once it is installed. I hope that some of the elements I use can be seen, or interpreted, as metaphors for more complex issues. I don’t want to point to one specific thing or theme, even though I insist on some topics that reveal themselves as a part of the process I follow. In resume, I like to believe that I am a cultural worker and my work or art pieces are the realization of a multilayered project that is in constant motion.
Javier Tapia fødselsdato7 date of birth: 10 – 05 -1976, Santiago, Chile *bosat i København siden 2001 / Living in Copenhagen since 2001 e-mail: javier@tapiajavier.com hjemmeside: www.tapiajavier.com *contact phone: (0045) 60639285
CURRICULUM VITAE
UDDANNELSE / EDUCATION 2004-2010 Det Kongelige Danske Kunstakademi / Royal Academy of Fine Arts, Danmark. (Prof. Thomas Demand, Prof. Gerad Byrne og Prof. Florian Pumhôsl) 2009 UCLA, Faculty of Fine Arts, Los Angeles, CA. USA. (Prof. Mary Kelly) 1999-2001 Facultad de Bellas Artes, (Kunst teori) Universidad de Barcelona, Spanien 1994-1997 Artes Visuales (Visual Arts), PUC, Chile
UDSTILLINGER / EXHIBITIONS
Solo udstillinger / Solo exhibitions
2011 ”Angst Journey, Where’s the Dead Man’s Chest” – WPA – Los Angeles, CA. USA 2010 ”A Platform Proposal / Fluid Trust No Judgment” - ALT CPH – Fabrikken – København, Danmark 2008 “Monte Carlo Club” – MAProjects, København, Danmark 2007 “A meeting point” – KKC, Klaipeda Kultur Center, Lithuania 2006 “The cloning and the egiptian laboratory chapter” w/ Al Masson. Andratx Kunsthalle, Mallorca, Spanien “Behind the Sun” – Q Galleri , København, Danmark 2005 “SATURATION” (m.Olof Olsson) – MAProjects – København, Danmark 2004 “HEY!” – Kunst Industrien, København, Danmark TERRITORY, platform1 – Trottoir, Hamburg, Tyskland 2003 “TCP” – Tapia Cultural Project – Vordingborg, Danmark 2002 “Art Reaction” – Social Platform, Barcelona, Spanien 2001 “Warning Decoration” - Groc Art Gallery, Barcelona, Spanien “Outsider views” - Streets of Denmark Hill, London, England 2000 “Box 1” - Nau Ivanow, Barcelona, Spanien “Beautiful World” - Groc Art Gallery, Barcelona, Spanien
Gruppe udstillinger / Group exhibitions
2011 ”Ok Corral” – Toves Galleri, København, Danmark 2010 ”Berlin Forum” Art Messe, Berlin, Tyskland ”Nordic Art Fair” – Martin Asbæk Gallery, København, Danmark ”Afgang”, Charlottenborg Kunsthal, København, Danmark 2009 ”Astronomical Frontiers”, BKS Garage – Henningsen Contemporary, København, Danmark 2008 “Art Copenhagen / Forum”- MAProjects, København, Danmark 2007 Group show at Henningsen Contemporary, København, Danmark “MAGT på Kronborg”, Helsingør, Danmark Charlottenborg Forårs udstilling , København, Danmark 2006 “Art Copenhagen / Forum”- MAProjects, København,Danmark “Art Brussels”- MAProjects, Brussels, Belgium 2005 “Buffet” – Den første til venstre , København, Denmark “The Post Group Show Dilemma” – 7 artists that might be born on a Tuesday. Parallel event to the 9th Biennal of Art of Istanbul, Tyrkiet “Pro – Art”, Randers Kunstmuseum, Danmark 2002 “SUR”, Museo de Arte Contemporáneo, Valdivia, Chile “Conexiones Cruzadas”, Galería Cecilia Palma, Santiago, Chile 2001 “Tapia +SAG”, Aunkan Gallery, Barcelona, Spanien “Pop meets Pop”. Foxx Gallery, Zurich, Schweiz “New ART” art fair, Galería Berini, Barcelona, Spanien 2000 “Last”, Frontière Gallerie, Paris, Frankrig “Itinerant show 000”, El Generador, Cultural Center – Santiago – New York (Chile/USA) “First Art Fair of Grafic Works”, Museum of Victória, Brasilien “DeALTA Tour”, Barcelona-Spanien, Cay Caulker-Belize, Montreal-Canada 1999 “Cosapi Contest”, Galería Tomás Andreu - Santiago, Chile “000”, Galería Ante-Sala – Santiago, Chile 1998 “Galería Isabel Aninat Contest”, Santiago, Chile “Grafinnova”, ArtFair, Ostrothbonian Museum – Vaasa, Finland “5”, Association of Fine Arts of Chile “ALTA”, Galería San Francisco - Santiago, Chile 1997 “Spirit of America”, Galería San Francisco - Santiago , Chile “Public”, Santiago, Chile 1995 “Open Show”, Lo Matta Museum – Santiago, Chile
ANDRE PROJEKTER / Other projects
2011 Bogudgivelse: Angst Journey; A Platform Proposal; A Cave Reference - IMO, København, DK. 2010 Screening – Camilo Ontiveros / Michelle Dijon - South West Studio, Los Angeles, CA, USA Screening/Workshop, Art Center, Pasadena, CA, USA “The fashion show” – sammen med Simon Rasmussen, København, Danmark 2009 Screening at Imprenta, Los Angeles, CA, USA 2008 Bogudgivelse: Monte Carlo Club Illustreret bogen Red Devil m/ Mark Von Schlegell, Cologne, Tyskland 2005 The artist as a general – Let’s kick some ass (m. Signe Skovmand). Det Kongelige Kunstakademi Kulturcenter - Randers Kunstmuseum, Danmark 2004 Territory – Gadene af København, Danmark Danger Fox ( m. Andreas Gislao) Design Projekt – København, Danmark 2001 Warning Decoration – Offentlige Rum, Barcelona, Spanien
LEGATER OG FONDE / AWARDS AND SCHOLARSHIPS
2011 Statens Kunstrådet / Danish Arts Council: Produktion støtte, Bog Projekt-udgivelse, Produktion. 2010 Statens Kunstrådet / Danish Arts Council: Produktion sttøte og “Research and travel Project” i LA 2006 Statens Kunstrådet / Danish Arts Council: Produktion / Projekt til 9th Istanbul Biennale 2010 IDELLA 2009 Krista og Viggo Petersens Fond 2009 OTICON 2009 JL FONDET 2009 Karl Thyrres Legat 2009 Billedhuggeren Gottfred Eickhoff og hustru maleren Gerda Eickhoffs Fond 2005, 2008, 2009 Grossere L.F. Foghts Fond 2007 Peter og Emma Thomsens Legat 2007 Theodor Alfred Chr.Von Irgens Bergh og Hustru Gisela von Irgens Bergh Kunstnerlegat 2006 Marie Langhoffs Legat 2003, 2004, 2006 Kunstahandler Richard Wilstrup og Hustru Franciska, F¯dt Jensens Legter 2005 DCCD
- PORTAFOLIO
THE CAUCUS ROOM Project proposal for OVERGADEN By Javier Tapia
The authentic moment of discovery, the breakthrough, occurs when a properly universal dimension explodes from within a particular context and becomes “for itself”, and is directly experienced as universal.1
Project Description
The exhibition proposal to Overgaden that is presented here is an immersive environment with a narration based on a conceptual representation of a space for diplomacy, in this case The Caucus Room. The exhibition platform is understood as an environment. The name of the project is taken originally from a room in Washington DC, The Caucus Room, a place that captures big part of the Washington scene, with all that this entails: a sprinkling of congressmen and -women, television newscasters, and corporate VIPs; lots of backslapping and shaking of hands; and meetings taking place behind closed doors. The Caucus Room has also being adopted as a room for protocol, where people should gather for meetings and find ground for agreements. Types of Caucus Rooms are also found today at the UN building and in many hotels with meetings rooms for rent.
The environment projected is a sculptural translation of a meeting point, since no real meetings are taken place in the space and the room is presented as an art piece. The illustrative and referential elements can play a rendering role to establish a meta narration, that comments in the current status of economical and geopolitical meetings and its results as a backdrop. The reason for taking such decision is to reflect in the impossibility of universal gestures in the face of fragmented and conflicted ideologies. Art is used then, as a utopian tool for reconciliation, aesthetics as a mediated solution. Some of the topics that would install this relationship between art and geo politics will be reflected in images of war, subcultures, history, and some of the fictions related to it. Many of these topics are too global, powerful, violent and emotional, and it could seem too pretentious or naïve, or too stupid to try to solve them, however, that is the way this installation should be, because the project is rooted in the believe that in the impossibility of reaching these subjects, one could see the impossibility of art to solve them too. Outcome
The project will be structured following a logic of improvisation with pre determinate elements such as a collection of flags, a series of drawings and collages, sculptures, selected objects and fabrics, all virtually framed under the construction of semi stages or light tables. Other possible materials that can be adapted to this construction are blocks of Styrofoam and “stlladser”, wood, cast heads, foam and glass. The work aims to be an intuitive environment with a pre made concept, in this case The Caucus Room.
The final shape of the show will be developed once the installation process starts in Overgaden and the different elements are staged to play with each other. A minimal result, or a very structured and composed space with several elements, such as tables, flag poles, extra lightning and screens can also be expected as a result, however, always keeping in mind that the principle of an immersive environment is the ground motivation to this piece. The reason to work with an open range of mechanics/types of display raises after the idea of the institutional critique as such, in fact, the self-curatorial practice and place for improvisation, with the pre-selected elements, is closer to the idea of an adventure, stimulating discovery or an attempt to experimentation, that we hope, Overgaden stands for. The subjects and symbols in use will emphasize the conceptual nature of the show, repositioning the thoughts under it and creating a multi dimensional theatre.
Certain pieces inside this environment aims to bring a sense of nostalgia, since in the post modern times we are living, the critique to the fundamental formal techniques of art are blurred between videos and computer generated images, however, this contrast will be possible precisely with the installation of video projections or screens, in combination with the more formal techniques such as collage and ready made.
One projected video is a recording of Wall Street’s electronic stocks board. This specific piece is addressing the contemporary state of the world’s economy and the political agendas attached to it, generating a background image for the established sculptural situation.
The self stage of the installation will be made according to the space where Overgaden decides to host the show, nevertheless, the improvisational approach to the work that we are mentioning here will take place under a clear frame made out of levels; in order to illustrate hierarchies where the different parts of the work will activate the narration of the environment. We believe that this show can be adaptable to all the rooms that Overgaden contains and therefore we are not making a specific request regarding the space.
This specific work is the continuation of several projects and publications from 2009 (see attached material). We hope you can see the potential and the energy behind this project. We are sure that by given the chance to work in collaboration with Overgaden, we can make a great show and a contribution to the year’s exhibition program and the Danish Art scene.
Illustrations
Senate Caucus Room – Washington DC, 2011
Wall Street’s electronic Stocks board
Lina Bo Bardi – Glass House, Sao Paulo. – Meeting Room / Caucus Room
BUDGET
Film Project * (in New York) Camera / Photo / Edition Assistance 35.000 Kr. Technical Equipment ( Lens, Camera, Media Player) 35.000 Kr. HD Projector 15.000 Kr.
Installation materials 15.000 Kr. Construction ( wood, cement, glass, styrofoam) Div. tools and metal hooks
Chains
Paint- General materials 20.000 Kr.
Office materials (tape, glue, markers).
2 rolls 10 mt. 300gr. Canson Paper
Photo Prints
Framing
Foam figures
Clay figures
Fabrics
Lightning equipment
Metal and furniture’s (2nd hand)
Glass plates
Small diverse articles from boutiques.
Transport 2.000 Kr.
2 Assistants (1 week ) 10.000 Kr. Artist 4 weeks honoraries 16.000 Kr.
TOTAL 148.000 Kr.
ABOUT MY WORK / artist statement By Javier Tapia
The following text is presented as a personal interpretation of my work as an artist. It is one way of explaining what I do and how I see it.
My work could be understood as a chain of things that folds into each other. I like to be open to the use different medias and resources to achieve the visions and ideas I have for every project that I am involved. Because I like to challenge myself, I like to challenge my work and the capacity of expanding it. For that reason, by using personal and common subjects, I try to structure a new game of relations that could be understood as a language. After a project has been presented I like to stop and look at the way I have used things, elements or strategies in a particular context. It is in this moment when I see that the same things have different meanings at different points in my work, which has made me more and more aware of the use I give to the different elements. Proceeding in that way, I must say that global history, art history, politics and my personal background are themes that are revealed in different layers when I propose my works, not as frontal as it could be expected. Sometimes, because of my way of working, I face weird situations or mistakes in the process that might be appreciated with a degree of ambiguity; nevertheless when I am aware of those details I can see a big potential to learn and bringing up new ideas, this part of the process could be always translated in new works or projects.
Usually I get an idea and I see the possibilities of developing it. Sometimes I succeed carrying the projects from the idea to the factual piece, sometimes I don’t, and that is the reason why I see the medias I use, such as painting, drawing, video, sculpture and photography, as tools to create a net that becomes a sort of a language when everything is in perspective. The process I follow can be seen as a wave or an avalanche, where stuffs and materials are added, and then as a result, the meaning also is expanded. At some point this wave also can crash at something and the different meanings could be dispersed. Style or forms are things that are coincidental in my practice, because I do work using a lot of instinct. I like to be critical of my own knowledge, because I tend to believe that my own way of thinking is probably the thing that I know the least about. Because of this, I like to work on expanding my knowledge about things and using them as tools as well. In that way I like to think that my work has the capacity of adopting anything and its form could be a constant variable in time. I like to always leave open doors, for example, I don’t know if all the works and projects are fully finished. My mistakes could be understood as goals or good things, as I have mentioned before, because I see them as a manifestation of my will to try to make art or a comment to the idea of success. For the same reasons I like to believe that the works or projects I propose are displayed in different levels. The viewer never see everything that is behind the pieces, but is, on the other hand, completing the meaning of the project once it is installed. I hope that some of the elements I use can be seen, or interpreted, as metaphors for more complex issues. I don’t want to point to one specific thing or theme, even though I insist on some topics that reveal themselves as a part of the process I follow. In resume, I like to believe that I am a cultural worker and my work or art pieces are the realization of a multilayered project that is in constant motion.
Javier Tapia fødselsdato7 date of birth: 10 – 05 -1976, Santiago, Chile *bosat i København siden 2001 / Living in Copenhagen since 2001 e-mail: javier@tapiajavier.com hjemmeside: www.tapiajavier.com *contact phone: (0045) 60639285
CURRICULUM VITAE
UDDANNELSE / EDUCATION 2004-2010 Det Kongelige Danske Kunstakademi / Royal Academy of Fine Arts, Danmark. (Prof. Thomas Demand, Prof. Gerad Byrne og Prof. Florian Pumhôsl) 2009 UCLA, Faculty of Fine Arts, Los Angeles, CA. USA. (Prof. Mary Kelly) 1999-2001 Facultad de Bellas Artes, (Kunst teori) Universidad de Barcelona, Spanien 1994-1997 Artes Visuales (Visual Arts), PUC, Chile
UDSTILLINGER / EXHIBITIONS
Solo udstillinger / Solo exhibitions
2011 ”Angst Journey, Where’s the Dead Man’s Chest” – WPA – Los Angeles, CA. USA 2010 ”A Platform Proposal / Fluid Trust No Judgment” - ALT CPH – Fabrikken – København, Danmark 2008 “Monte Carlo Club” – MAProjects, København, Danmark 2007 “A meeting point” – KKC, Klaipeda Kultur Center, Lithuania 2006 “The cloning and the egiptian laboratory chapter” w/ Al Masson. Andratx Kunsthalle, Mallorca, Spanien “Behind the Sun” – Q Galleri , København, Danmark 2005 “SATURATION” (m.Olof Olsson) – MAProjects – København, Danmark 2004 “HEY!” – Kunst Industrien, København, Danmark TERRITORY, platform1 – Trottoir, Hamburg, Tyskland 2003 “TCP” – Tapia Cultural Project – Vordingborg, Danmark 2002 “Art Reaction” – Social Platform, Barcelona, Spanien 2001 “Warning Decoration” - Groc Art Gallery, Barcelona, Spanien “Outsider views” - Streets of Denmark Hill, London, England 2000 “Box 1” - Nau Ivanow, Barcelona, Spanien “Beautiful World” - Groc Art Gallery, Barcelona, Spanien
Gruppe udstillinger / Group exhibitions
2011 ”Ok Corral” – Toves Galleri, København, Danmark 2010 ”Berlin Forum” Art Messe, Berlin, Tyskland ”Nordic Art Fair” – Martin Asbæk Gallery, København, Danmark ”Afgang”, Charlottenborg Kunsthal, København, Danmark 2009 ”Astronomical Frontiers”, BKS Garage – Henningsen Contemporary, København, Danmark 2008 “Art Copenhagen / Forum”- MAProjects, København, Danmark 2007 Group show at Henningsen Contemporary, København, Danmark “MAGT på Kronborg”, Helsingør, Danmark Charlottenborg Forårs udstilling , København, Danmark 2006 “Art Copenhagen / Forum”- MAProjects, København,Danmark “Art Brussels”- MAProjects, Brussels, Belgium 2005 “Buffet” – Den første til venstre , København, Denmark “The Post Group Show Dilemma” – 7 artists that might be born on a Tuesday. Parallel event to the 9th Biennal of Art of Istanbul, Tyrkiet “Pro – Art”, Randers Kunstmuseum, Danmark 2002 “SUR”, Museo de Arte Contemporáneo, Valdivia, Chile “Conexiones Cruzadas”, Galería Cecilia Palma, Santiago, Chile 2001 “Tapia +SAG”, Aunkan Gallery, Barcelona, Spanien “Pop meets Pop”. Foxx Gallery, Zurich, Schweiz “New ART” art fair, Galería Berini, Barcelona, Spanien 2000 “Last”, Frontière Gallerie, Paris, Frankrig “Itinerant show 000”, El Generador, Cultural Center – Santiago – New York (Chile/USA) “First Art Fair of Grafic Works”, Museum of Victória, Brasilien “DeALTA Tour”, Barcelona-Spanien, Cay Caulker-Belize, Montreal-Canada 1999 “Cosapi Contest”, Galería Tomás Andreu - Santiago, Chile “000”, Galería Ante-Sala – Santiago, Chile 1998 “Galería Isabel Aninat Contest”, Santiago, Chile “Grafinnova”, ArtFair, Ostrothbonian Museum – Vaasa, Finland “5”, Association of Fine Arts of Chile “ALTA”, Galería San Francisco - Santiago, Chile 1997 “Spirit of America”, Galería San Francisco - Santiago , Chile “Public”, Santiago, Chile 1995 “Open Show”, Lo Matta Museum – Santiago, Chile
ANDRE PROJEKTER / Other projects
2011 Bogudgivelse: Angst Journey; A Platform Proposal; A Cave Reference - IMO, København, DK. 2010 Screening – Camilo Ontiveros / Michelle Dijon - South West Studio, Los Angeles, CA, USA Screening/Workshop, Art Center, Pasadena, CA, USA “The fashion show” – sammen med Simon Rasmussen, København, Danmark 2009 Screening at Imprenta, Los Angeles, CA, USA 2008 Bogudgivelse: Monte Carlo Club Illustreret bogen Red Devil m/ Mark Von Schlegell, Cologne, Tyskland 2005 The artist as a general – Let’s kick some ass (m. Signe Skovmand). Det Kongelige Kunstakademi Kulturcenter - Randers Kunstmuseum, Danmark 2004 Territory – Gadene af København, Danmark Danger Fox ( m. Andreas Gislao) Design Projekt – København, Danmark 2001 Warning Decoration – Offentlige Rum, Barcelona, Spanien
LEGATER OG FONDE / AWARDS AND SCHOLARSHIPS
2011 Statens Kunstrådet / Danish Arts Council: Produktion støtte, Bog Projekt-udgivelse, Produktion. 2010 Statens Kunstrådet / Danish Arts Council: Produktion sttøte og “Research and travel Project” i LA 2006 Statens Kunstrådet / Danish Arts Council: Produktion / Projekt til 9th Istanbul Biennale 2010 IDELLA 2009 Krista og Viggo Petersens Fond 2009 OTICON 2009 JL FONDET 2009 Karl Thyrres Legat 2009 Billedhuggeren Gottfred Eickhoff og hustru maleren Gerda Eickhoffs Fond 2005, 2008, 2009 Grossere L.F. Foghts Fond 2007 Peter og Emma Thomsens Legat 2007 Theodor Alfred Chr.Von Irgens Bergh og Hustru Gisela von Irgens Bergh Kunstnerlegat 2006 Marie Langhoffs Legat 2003, 2004, 2006 Kunstahandler Richard Wilstrup og Hustru Franciska, F¯dt Jensens Legter 2005 DCCD
- PORTAFOLIO