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jueves, 7 de noviembre de 2024

SUNFLOWER FIELDS _________________________________SUPERNATURAL SERIES _ BOKROS SLOVAKIA ___________________ MMXIX

Back in the south of Slovakia, next to Komarno and to the Danube River. The art residence in Bokros works elegantly in a rural hotel runned by a family in a production farm. The farm includes modern technology and has some old buildings from the last century that work as simple anthropological museums. The owners and the staff are gentle and kind. The fields around the farm are covered with corn, sunflowers and potatoes. It rains heavyly in the nights. Nightstorms are wild. We share homemade meals everyday in a big livingroom with the invited artists to this 40th year of the art series runned by artist Yuri Dólan. We work in our ateliers, there are several of them spread around the farm. There are pigs and a couple of horses eating grass. In the evening we have some lectures and presentations about our works and enjoy some music with local spirits. Apricot Pálinka is best. Everyone is very calm and we have time to talk without any hurry. I have no cellphone this time with me, so im extra focused in the real time and the context. I walk the area everyday with joy, the new natural canvas. I already recorded Kómarno and the farm some years ago, and feels very intersting to be back for a few days to make the relationship with the place and the artists stronger. I always return to those scenarios that give me joy and focus. I make a film in relation with the local natural elements. Classic mood. I swim in the Danube and cross the fields. The sound of the bending leaves is great. Corn is still green and sunflowers are getting brown. I collect some natural installations and burn some of them by the river as ritual during the day. All in a very small and light scale. Frugal art. I collect some elements and picture them in sets. Artist work some hours on their steady concepts, with great respect and empathy. I have worked now more that ten years in the field od relartional art, LAPIEZA was launched in 2009 so I feel deep respect for those who have the energy and the will to invite and gather artists for so many years in a row. Congratulations.

UNSTABLE INSTALLATION SERIES

https://antolloveras.blogspot.com/2019/09/setsbokros-mmxix.html

BOKROS IZÁ KÓMARNO SLOVAKIA MMXIX
The triangle is a classic in the floor sets. The stones from the river are smooth and look a bit like candy. Toffee. The equilaterum works in all directions.

The main work for the exhibition is the film in the context. Bokros. The narrative is straight, a direct point of view, a transit towards a house, with the melancholy of the music by el intruso.

https://antolloveras.blogspot.com/2019/09/bokrosmmxix.html
8MIN HD DIGITAL SERIES
THROUGH FILEDS. FIRE AND MUD.SUPERNATURAL SERIES.

POOL is a bonus work on a readymade concrete structure that stands alone as and artwork. I walk down and up once with the bag as art, as in many other structures.

https://antolloveras.blogspot.com/2019/09/poolmmxix.html

The opening day of the residence we are kindly invited by artist Marta Kiss to enjoy the latest collective exhibition of the asociation of hungarian-slovak painters in a magnificent space. The gallery uses an old church in the center of Komarno. The show is dense and there is live music and some drinks.

30TH EXHIBITON SLOVAK HUNGARIAN PAINTERS KOMARNO GALERIA LIMES
https://www.youtube.com/watch?v=pXCxVM3U-9Q

DINNER SPEACH BY FARM OWNERS BEFORE DINNER.
https://www.youtube.com/watch?v=eF3dr3i9uEA&t=1s

SEÑOR PAINTS A JOHN DEERE FOR A LOCAL COLLECTOR

https://antolloveras.blogspot.com/2019/09/senorjohn-deerebokros-2019.html

YASMIN ENSAMBLES POST APOCALYPSE BEETLES
https://www.youtube.com/watch?v=RMdKsBfSAXo

JANA TRNKA CUTS AND PLAYS WITH JOY
https://www.youtube.com/watch?v=Swdhalt-B6k

HALA SWAL PAINTING A DOUBLE HER FLAT SCULPTURE
https://antolloveras.blogspot.com/2019/09/haha-swalbokros-2019.html

THE SITUATION IN BOKROS
IS PART OF THE ONGOING POSITIONAL ESSAY SERIES

RAW IDENTITY VIDEO SERIES //////////////////////////////
SITUATION, CONTEXT AND MEMORY - ONGOING META DOCUMENTARY

AND

THE TRANSLATORIAL -
UNSTABLE TRNASLATORIAL CONTEXT FIXERS

ADDING BODIES AND ATMOSPHERES TO THE SERIES
http://antolloveras.blogspot.com/2015/06/yellow-bagsunstable-installarton.html
++++++++++++ YELLOW BAG / BLUE PANTS / BLACK SHOES / 7TH HA

THAT CONNECT WITH THE ONGOING SUPERNATURAL SERIES

AND THE ONLINE EXHIBITIONS BY LAPIEZA
INTERNATIONAL CONTEMPORARY RELATIONAL ART SERIES

NATURAL SQUAD SERIES - UDDEBO SWEDEN 2019

http://antolloveras.blogspot.com/2019/03/uddebo-2019-anti-symposium.html

BY THE RIVER - PROVENCE 2019

http://antolloveras.blogspot.com/2019/06/symposium-correns-june-2019.html

TRAFALGAR - SUPREMATISM CÁDIZ - 2019
http://antolloveras.blogspot.com/2019/02/cadiz-2019unstable-insallation.html

http://antolloveras.blogspot.com/2016/03/the-word-in-viena-0316lapieza-1000.html

domingo, 6 de octubre de 2024

Threads of Meaning ______ The Emotional, Political, and Healing Power of Contemporary Textile Art

https://www.youtube.com/watch?v=qV_csJUHbmU&t=26s

Textile and Fiber Art: Tradition, Emotion, and Activism.

Textiles have long been seen as utilitarian objects, linked to everyday life through clothing, shelter, and domesticity. However, textile and fiber art has transcended its functional origins, becoming a potent medium for emotional expression, storytelling, and activism. This article explores how contemporary textile artists and curators are using fibers, threads, and fabrics to address a broad range of issues, from personal narratives to global concerns. Through examining the presentations of various panelists at an international textile art event, we discover the versatility and intensity of textile art, encompassing emotions, family histories, political discourses, and even the healing arts.

Textile and fiber art, historically rooted in tradition, has evolved into a versatile and dynamic medium that addresses a wide range of contemporary issues. This brief essay reflects on the various approaches and narratives presented by textile artists and curatorsnternational panel curated by Lala De Dios for the Guimarães Biennial, where the multifaceted roles of textiles in conveying emotions, telling personal and collective stories, interacting with politics, and functioning as a therapeutic medium were explored. The panelists, from different cultural backgrounds and artistic visions, highlighted the intensity of textile art in exposing topics such as motherhood, memory, sustainability, activism, and healing. The conclusion emphasizes the unique ability of textiles to connect touch with thought, craftsmanship with concept, and the personal with the political, positioning textile art as a powerful tool for both creative expression and social change.

Emotions and Personal Narratives: The Intimacy of Textiles. One of the most emotional presentations was that of Barbara Long, from Spain and the UK. Her project The Making of Mother Material is a tribute to her mother, exploring the emotional bond between mothers and daughters through textile art. Using fabrics, Long captures the complexities of mother-daughter relationships, demonstrating how textiles can communicate deep, personal emotions. Meghan Price, from Canada, presented Soft Rock, a work that fuses textiles with geological elements to explore the concept of deep time. Price invites the viewer to reflect on how natural materials and textures can connect with emotional and historical narratives, blending nature and human experience in a singular work.

Politics and Activism: Threads of Social Change.

Textiles are not only personal but deeply political. Historically, they have been used as symbols of power, commerce, and oppression, and contemporary artists are reclaiming this medium to address social and political issues. Transcending Threads by Dominika Krogulska-Czekalska explores post-textile discourse in activism, examining how textiles can be used to challenge social norms and advocate for change. In her work, fibers become tools of resistance, intertwining personal expression with collective action. The versatility of textiles also extends to sustainability, as seen in Anto Lloveras' project Re-(t)exHile, which explores textile architecture and sustainable fashion in Africa. Lloveras' work highlights the environmental impact of textile production and consumption, advocating for more conscious approaches to design and material use. This political dimension of textile art underscores the responsibility of artists to address urgent global issues through .

Memory and Collective Stories: Weaving the Past into the Present.

Textiles are also vehicles of memory, carrying with them traces of the past. The work of Esther Grau Quintana as co-curator of the Josep Grau-Garriga exhibition highlights this connection, focusing on how memory is woven into the fabrics of his tapestries. Through tactile materials, Grau-Garriga evokes personal and collective stories that shape identity and culture, illustrating how textiles can act as a material archive of human experience. Zala Orel, with her exploration The Story of a String and a Stone, delves into the historical significance of textiles, linking ancient practices with contemporary artistic narratives. Textiles, through their tactile qualities, offer a tangible connection to the past, reminding us of the hands that wove them, the stories they tell, and the cultures they represent. This intersection between past and present in textile art allows for reflection on continuity and change, making textiles a medium that bridges generations.

Healing and Therapy: The Soothing Power of Textiles.

One of the most profound aspects of textile art is its therapeutic potential. Brigida Ribeiros' exploration of Therapeutic Textiles reveals the healing properties of gauze, a fabric often associated with medical care. Ribeiros demonstrates how textiles, through their softness and flexibility, can promote healing, both physical and emotional. Her work emphasizes the role of textiles as mediators of touch, where the act of weaving, sewing, or wrapping becomes a form of care. Laurita Siles' Mutur Beltz project advocates for a form of textile art that not only heals people but also the planet.

Textile and fiber art, through its versatility and intensity, opens a space for diverse forms of expression, ranging from deeply personal emotions to broad political activism. The presentations by these international artists and curators demonstrate how textiles can be used to convey complex narratives, connect past and present, and address both individual and collective experiences. The tactile nature of textiles makes them particularly suited to exploring themes of care, memory, and healing, while their cultural and historical significance gives them a powerful political charge. Whether used to reflect on personal experiences like motherhood or to challenge social structures, textile art provides a rich, multifaceted medium through which stories are told, emotions are felt, and change is created. In conclusion, textile art is not simply a decorative or utilitarian craft; it is a profound mode of artistic expression that has the power to connect touch with thought, craftsmanship with concept, and the personal with the political. Through their work, these artists demonstrate the enduring relevance of textile art in contemporary discourse, making it a vital tool for creative exploration and social change.

Guimaraes, September 2024

https://antolloveras.blogspot.com/2024/08/contextile-art-biennial-2024-presents.html?m=0

jueves, 6 de junio de 2024

"Double Drops" is a project designed to create a series capturing the visual essence of diverse locales. Taking inspiration from Smithson's engagement with decadence and industrialization, the series infuses humor and criticism into exploring the distinctive features of each city, reflecting on the evolution of local narratives. 1762

Methodology: The approach involves walking, immersing in significant locations, and systematically documenting the context. Leveraging established forms from previous works, the series serves as flashes capturing each city's unique narratives and perspectives. Objectives: Share time and space with diverse locations, substantiating scenes, chromatics, and forms. Utilize contextual art forms, from minimalist installations to film series, to capture each city's essence. Embrace each city into a series reflecting the artist's journey through various locales. Execution: The artist will spend time walking through each city, listening, and learning about its unique aspects. Through immersion, scenes, colors, and forms will be documented, constituting a visual diary. The project aims to generate critical texts, reducing the collected information to a synthesis. Aligned with contextual art, the proposal is inclusive and welcoming. By using artistic forms within each context, "Double Drops" seeks to create series that reveal each city from the unique perspective of the artist, introducing fresh narratives and connections. The project includes prior studies on local urbanism, history, and cultural features, reflecting the artist's expertise as a conceptual artist and critic. The method involves adopting an ethnographer's approach to quantitative studies, allowing for an organic synthesis of ideas and observations. "Double Drops" is not about finding new monuments but directly engaging with the spirit of each city. The residency aims to weave new narratives, contributing to the artistic legacy of diverse locations and offering fresh perspectives on their unique identities. Anto Lloveras / January 29th, 2022

jueves, 22 de febrero de 2024

ATHENS _ RELATIONAL ART SERIES #113 #114 ______ MMXIX SOCIOPLASTICS

RAW IDENTITY VIDEO SERIES - /
SITUATION, CONTEXT AND MEMORY - ONGOING META DOCUMENTARY

AND

THE TRANSLATORIAL -

UNSTABLE CHROMATIC FIXERS -
ADDING BODIES AND ATMOSPHERES TO THE SERIES
++++++++++++ RED BAG / BLUE PANTS / BLACK SHOES / 11TH HAT

RECENT WORKS AND SITUATIONS

THAT CONNECT WITH THE ONGOING SUPERNATURAL SERIES

AND
THE ONLINE EXHIBITIONS BY LAPIEZA
INTERNATIONAL CONTEMPORARY RELATIONAL ART SERIES

SUNFLOWER FIELDS - BOKROS SLOVAKIA 2019

https://antolloveras.blogspot.com/2019/08/iza-komarno-slovakiammxix.html

NATURAL SQUAD SERIES - UDDEBO SWEDEN 2019

http://antolloveras.blogspot.com/2019/03/uddebo-2019-anti-symposium.html

BY THE RIVER - PROVENCE FRANCE 2019

http://antolloveras.blogspot.com/2019/06/symposium-correns-june-2019.html

TRAFALGAR CÁDIZ - SUPREMATISM - 2019
http://antolloveras.blogspot.com/2019/02/cadiz-2019unstable-insallation.html
THE RISK IN BOGOTÁ - COLOMBIA 2018
https://antolloveras.blogspot.com/2018/11/los-martiresbogotapositional.html
THE CITY IS AN ANIMAL - CROATIA 2017
https://antolloveras.blogspot.com/2017/08/taxidermyiiirigo-gallerycroatia-2017.ht
CONVERSATION INSTALLATION - KIKINDA SERBIA 2016
http://antolloveras.blogspot.com/2016/05/kikinda-serbia-artist-in-residence-july.html
SERIES MUDAS - MEXICO CITY 2016
http://antolloveras.blogspot.com.es/2016/01/mudasnuevas-series-mudasoxidaciones.html
EXTENDED EGOS - GOETHE GERMANY 2016
http://antolloveras.blogspot.com/2016/06/streaming-egos-extended-madrid-june.html

sábado, 24 de septiembre de 2022

GRID

Numbers, words, and schemes. Every day I have breakfast with the count of the dead. There they open with the dead here and here with those there. The virus belongs to everyone, it lies within everyone. We are one body. I capture some screenshots of the infinite visual book. Change language again and I enter another aesthetic world, the timeless cinema of Bela Tarr, in black and white. Yesterday I drew by hand the plan for my new studio. The showcase, the store, and the back room. It is already a mythical space in personal intra-history. The plague is on the loose out there. I measure the walls with the short ribbon. I transcribe the numbers on the black laptop. Space is somewhat more compact but very close to the scheme. The total surface including the store is eighty square meters. Today I will draw some furniture, the most relevant. Accompanying me, of course, is my round table, which has been with me for forty years. The fence is the new gym. Each space digests and synthesizes objects. I wake up. I turn on the two lights and the radiator. I make coffee. While it leaks I pick up my bed, which always ventilates during the day, every day. I brush my teeth, groom, and dress. I take the first coffee cup and put the computer and mobile to charge. I come out masked to the bakery. I buy a sweet puff pastry, another salty one, and a loaf of wholemeal bread, which is sliced. When I return I do the handwashing protocol and throw away all the containers. Every two days I go to the supermarket to buy tomatoes, cheeses, and assortments. When I come back I make a second coffee and turn on the computer, I put audio with news in Italian. I open the email, the translation program, Word, TXT, Trello, and some others. I do my first stretch of the day, usually legs. I edit the texts of Marisa's memoirs, revising syntactic and semantics. I write some emails. I edit some posts on my blog. I take a longer pause after the morning session, eat my pieces of bread, second stretch, and second coffee. I see some longer movies. I write down ideas and write. I speak on the phone in the afternoon. I start the new day listening to Jaques Brel, a genius of existentialist song. I continue with an interview with Samuel Beckett, perhaps my most cited author, who explains the synthesis of his method. Astrid Lindgren recites a paragraph from her children's book Mio min Mio, which I started reading in Swedish at the age of seven. Jaap Bakema, professor of urban planning in the 60s, tells his idea of the city, the layers. By night I check some news again, do the third stretch, and have a small bite. At midnight I set the layers of comfort for laying down. Pillows and heat. I watch the last film and repeat some sentences.

miércoles, 7 de agosto de 2019

MÁLAGA______________________________JUNE 2019

https://www.youtube.com/watch?v=g2UzVIpJLbs

https://www.youtube.com/watch?v=DaqBRNiz5aw

domingo, 2 de junio de 2019

NADIA CAETANOCORRENS 2019______LAPIEZA

PROVENCE 2019
BY THE RIVER SYMPOSIUM
http://antolloveras.blogspot.com/2019/06/symposium-correns-june-2019.html

martes, 4 de julio de 2017

THE LIGHT IN MEXICO CITY *************************************************************************************************JANUARY 2016^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^SUPERNATURAL SERIES_____FIXERS_LAPIEZA 1000::::::::::::::::::::::::::::::::::::THE WORD

In may 2011 i got a comission from UNESCO, in collaboration with the environmental psichology department at UAM university in Madrid. The task was basically to make an onsite urban study in the small city of COLIMA, near the PACIFIC OCEAN. The study was regarding all small pocket parks in the city CENTER, the accesibility, and the use of the parks by the elderly people. The idea was part of a larger global study that UNESCO had launched in Brazil some years before. So i flew to Mexico City, in transit, and did the work in Colima for some weeks. All went ok. Then i flew back to Mexico City in a small plane, and i stayed for ten days walking and recording THE CITY CENTER. Those days were special. I was very surprised by the city in many ways, by the people, the food and the energy that was all over. The scale. At that time i was very busy running my art gallery in Madrid, and had many performances planned in the coming months, so i went back, and while curating the performances and the last onsite exhibitions, i decided to write a project that would bring me back to Mexico City. In the following year i closed the space where i was showing the ongoing relational installation, alltogether 500 artworks in 35 exhibitions. I went on, curating online exhibitions from every city i would live from that day on. Since 2012 i have changed the postion of my base studio about 50 times. I flew back to Mexico City in January 2013, and lived three months in a cool hotel in the city center, I worked with FOOD AND RITUALS, I took a some thousand pictures (TWINS, unstable installation series) and made 25 videoclips from the 1000 kilometers i walked in the center. NOt so bad. I got to know the city center pretty well. Then i went to write to Mazunte, in OAXACA where i got to swim in the amazing beaches at the PACIFIC OCEAN. Again back to Mexico City, where I made several relational intallations and exhibitions, some online for LAPIEZA, other onsite in different showrooms. All days back then were above average, rich and flavourous. I met great artists. Then i went back to EUROPE and had several SOLO and NO SOLO shows and trips (check seelcted chronology of events 2011-2015). NOW, at the end of the year 2015 im back. It has been a long season. Game remains open. LAPIEZA is reaching the piece 1000, where this text belongs. Narrative and situations are fresh and stable. I bring some works to show in the coming weeks, together with the SAND FROM THE DUNE, and the chromatic situational fixers. BLUE + YELLOW, all to extend the translatorial. The light is amazing here.

7AM ::: INSURGENTES COLONIA ESCANDÓN

8AM ::: MERCADO DE LA LAGUNILLA

RECENT WORKS AND SITUATIONS - 2015

THAT CONNECT WITH THE ONGOING SUPERNATURAL SERIES

AND

THE ONLINE EXHIBITIONS OF LAPIEZA

THE LIGHT ON THE RICE FIELDS - SPAIN 11.15
http://antolloveras.blogspot.mx/2015/11/the-ligh-on-rice-fields-vejer-cadiz.html
AS FAR AS THE ARM CAN REACH - NORWAY 10.15
http://antolloveras.blogspot.com.es/2015/11/substractionautumnconceptual.html
DUNA DUNAJ - SLOVAKIA - 09.15
http://antolloveras.blogspot.sk/2015/09/duna-dunaj-slovakia-september-2015.html
MIMESIS - SPAIN 08.15
http://antolloveras.blogspot.com.es/2015/08/mimesistime-and-honor2015negradas.html
SITUATIONAL FIXERS - PRAGUE - 06.15
http://antolloveras.blogspot.cz/2015/06/prague-quadrennial-of-performance-and.html
THE LIGHT IN PROVENCE - FRANCE 05.15
http://antolloveras.blogspot.com.es/2015/06/the-light-in-provence-2015.html
THE CITY IS AN ANIMAL - TAXIDERMY LONDON 04.15
http://antolloveras.blogspot.com.es/2015/04/taxidermy-east-london-city-is-animal.html

MUDAS 029 2016

SANTA MARÍA LA RIBERA

COLECCIÓN TAKA + GO

MUDAS 022 + 028 PRIMERA COMBINADA

COLECCIÓN NURIA VALVERDE

MUDAS 028

MAZUNTE OAXACA PLAYA

PRIMERA ITINERANTE

TALLER INDEPENDIENTE OAXACA

NIGHT SHOWROOM

MUDAS 024 025 O26 027

MUDAS 023

ESTUDIO JESÚS LEÓN

CALLE GUATEMALA CENTRO

FRESCA

MUDAS 022 ESTUDIO ESCANDÓN

CALLE PROGRESO

FRESH

ESTAS NUEVAS MUDAS CONECTAN CON LAS MUDAS DEL AÑO 2013

MUDAS 019 - 021 SHOWROOM HAMBURGO - LA JUÁREZ

http://antolloveras.blogspot.mx/2016/01/mudasseries-mudas019020021oxidacion.html
MUDAS 017 - 018 SHOWROOM DURANGO - LA ROMA

http://antolloveras.blogspot.mx/2016/01/mudasseries-mudas017018oxidacion.html
MUDAS 001 - 016 SHOWROOM VIRREYES - CENTRO
http://antolloveras.blogspot.mx/2013/06/mudas-series-mudas-mexico-df-2013.html

LAPIEZA ////////// 1000

EXHIBITION #75 THE WORD

2016 *****

http://lapiezalapieza.blogspot.com.es/2016/02/the-word-exhibition-75-7th-season-2016.html

Páginas

jueves, 7 de noviembre de 2024

domingo, 6 de octubre de 2024

jueves, 6 de junio de 2024

jueves, 22 de febrero de 2024

sábado, 24 de septiembre de 2022

miércoles, 7 de agosto de 2019

domingo, 2 de junio de 2019

martes, 4 de julio de 2017

FILM LAGOS 2024

Art as refuge: a glance at the 4th Lagos Biennial, that attests to the resilience that art offers in

IV Lagos Biennial 2024 - Re-(t)exHile: Textile Waste, Art, and Global Responsibility

TRIENAL V

Guimarães Art Biennial 2024

HUMAN RIGHTS AND CULTURE CONGRESS ___________________ POSTORY :::::::: Gentrification, Turistization

LACALLE * A Right-to-the-City Device 2010

SUBTRACTION SERIES

KINGDOM V

BLUE JEANS

e

TÓTEM * BURNING ART AS ART

MINIROC

SPANISH BAR _________ BAR ESPAÑOL ***** CONTEXT AS READYMADE _________ UNSTABLE INSTALLATION SERIES

STONE BAR I

Qualitätskontrolle III: A Synesthetic Installation FIT 2021 CÁDIZ

Unstable Installation Series

SHEMAN TRANSHUMANOID

ÉPICA EPIDÉRMICA * 2023 NATURAL SKIN INSTALLATION IN A WHITE HOUSE

UNSTABLE COLLECTIVE INSTALLATION

POSTORY - PROYECTO DE INVESTIGACIÓN UAM

TRIENAL IV

PSICOLOGÍA AMBIENTAL HOY

STREAMING EGOS

TEACHING SERIES NTNU

Cultures, Representations, and the Cultural Study of Science

ZONA DE OBRAS - LAPIEZA

NO CREDIT ***** EQUILATERUM

RIGO GALLERY - SOLO SHOW CROATIA - THE CITY IS AN ANIMAL

SUBAMB

TÓMBOLO

The Light in Zagreb

The CJCM renovation involved the complete removal of all partitions and the implementation of a ligh

GLORY HOLE

PYRAMYD 2020

LAPIEZA FULL COLOR

TRIENAL II

RUS MIAMI

UNSTABLE LOVE SERIES

LIPS

KINGDOM SERIES

LIGHT CONCRETE SCULPTURE

VELÁZQUEZ 100 SITUATION ___ PLANCTON

PANOPTIC DIARY

ORANGE: Colour–Body–Place

FLIPAS 2022

Estética relacional y socioplástica

BARNA SOBRE RUEDAS

FruitJob - Ritual Series

LA ROCA_________ON THE REAL SIDE

THE WALL AND THE OCEAN - DOUBLE SHOW AFTER DARKNESS

FAST HEARTBEAT / RITUAL SERIES

ESCENARIOS DE RIESGO ///////////////////////////// CARTOGRAFÍAS DEL TRANSCAMPO__________CLASS

NORMAL POP FOOD

PABELLÓN DE MÉXICO

TWIN HOUSES

DARK BLUE PANTS II

EL SOL DE FRENTE

CADÁVER EXQUISITO___2020 ACCIÓN MUSEOGRÁFICA ESPACIO CRUCE

UNDER THE MOUNTAINS

Las plazas, pulmones emocionales para la ciudadanía

CRITICAL ESSAY

ESCULTURA ESCÉNICA

No Credit

LIGHT SCULPTURE //////// SOCIAL INSTALLATION SERIES

TERRATORY

BOTANIC SERIES

DEEP BREATH + + +

CROPS

THE FLAG SQUAD _________ Re(T)exHile

POP QUEER

SPANISH BAR _ BAR ESPAÑOL ***** CONTEXT AS READYMADE _ UNSTABLE INSTALLATION SERIES