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NATIONAL SYMBOLS ARE BUILT FROM WHAT THEY CONCEAL — REPETITION, NOISE, AND THE EVERYDAY GESTURES OF VIOLENCE THAT THEIR SOLEMNITY REQUIRES. NATIONAL SYMBOLS ARE BUILT FROM WHAT THEY CONCEAL — REPETITION, NOISE, AND THE EVERYDAY GESTURES OF VIOLENCE THAT THEIR SOLEMNITY REQUIRES.
MIGRATION UNFOLDS NOT AS DEPARTURE OR ARRIVAL BUT AS AN INTERVAL — A CONDITION OF PERMANENT TRANSIT IN WHICH LANGUAGE, TERRITORY, AND IDENTITY HAVE NOT YET SETTLED. MIGRATION UNFOLDS NOT AS DEPARTURE OR ARRIVAL BUT AS AN INTERVAL — A CONDITION OF PERMANENT TRANSIT IN WHICH LANGUAGE, TERRITORY, AND IDENTITY HAVE NOT YET SETTLED.
BODIES LEAVE TRACES THAT OUTLAST THE SYSTEMS THAT REGULATED THEM — MATERIAL RESIDUES THAT ACCUMULATE WHERE SYMBOLS CAN NO LONGER HOLD. BODIES LEAVE TRACES THAT OUTLAST THE SYSTEMS THAT REGULATED THEM — MATERIAL RESIDUES THAT ACCUMULATE WHERE SYMBOLS CAN NO LONGER HOLD.
PUBLIC SPACE DOES NOT ACCOMMODATE THE BODY — IT PRECONDITIONS IT, DESIGNING MOVEMENT AS COMPLIANCE BEFORE ANYONE HAS CHOSEN TO COMPLY. PUBLIC SPACE DOES NOT ACCOMMODATE THE BODY — IT PRECONDITIONS IT, DESIGNING MOVEMENT AS COMPLIANCE BEFORE ANYONE HAS CHOSEN TO COMPLY.
MEMORY RESISTS THE GRAMMAR THROUGH WHICH POLITICAL VIOLENCE HAS BEEN MADE MONUMENTAL — IT OPERATES AS COMPOSITIONAL FORCE, NOT AS ARCHIVE. MEMORY RESISTS THE GRAMMAR THROUGH WHICH POLITICAL VIOLENCE HAS BEEN MADE MONUMENTAL — IT OPERATES AS COMPOSITIONAL FORCE, NOT AS ARCHIVE.
COLOR APPLIED TO THE FACE AS NATIONAL BELONGING FOLLOWS ITS OWN INTERNAL LOGIC — CARRIED TO ITS PHYSICAL LIMIT, IDENTIFICATION UNDOES ITSELF. COLOR APPLIED TO THE FACE AS NATIONAL BELONGING FOLLOWS ITS OWN INTERNAL LOGIC — CARRIED TO ITS PHYSICAL LIMIT, IDENTIFICATION UNDOES ITSELF.
COLLECTIVE PROTEST PERSISTS AS FORM AFTER ITS SUBJECTS HAVE GONE — AUTOMATED, DEPERSONALIZED, FAITHFUL TO THE GESTURE AND INDIFFERENT TO ITS PURPOSE. COLLECTIVE PROTEST PERSISTS AS FORM AFTER ITS SUBJECTS HAVE GONE — AUTOMATED, DEPERSONALIZED, FAITHFUL TO THE GESTURE AND INDIFFERENT TO ITS PURPOSE.
HISTORY BECOMES SPECTACLE WHEN ITS SITES ARE CONVERTED INTO NAVIGABLE TERRAIN — CONSUMABLE, INTERACTIVE, AND ETHICALLY WEIGHTLESS. HISTORY BECOMES SPECTACLE WHEN ITS SITES ARE CONVERTED INTO NAVIGABLE TERRAIN — CONSUMABLE, INTERACTIVE, AND ETHICALLY WEIGHTLESS.
ECONOMIC SYSTEMS OPERATE THROUGH DISTRACTION — MISDIRECTION, SUBSTITUTION, AND THE MANAGEMENT OF ATTENTION ARE PROCEDURES, NOT PERFORMANCES. ECONOMIC SYSTEMS OPERATE THROUGH DISTRACTION — MISDIRECTION, SUBSTITUTION, AND THE MANAGEMENT OF ATTENTION ARE PROCEDURES, NOT PERFORMANCES.
DEVELOPMENT IS A JINGLE PLAYED ON THE INFRASTRUCTURE IT LEFT BEHIND — EXTRACTION RENDERED FAMILIAR, REPEATED UNTIL IT SOUNDS LIKE PROGRESS. DEVELOPMENT IS A JINGLE PLAYED ON THE INFRASTRUCTURE IT LEFT BEHIND — EXTRACTION RENDERED FAMILIAR, REPEATED UNTIL IT SOUNDS LIKE PROGRESS.
WEAPONS LEAVE MATERIAL RESIDUES — RECONFIGURED INTO OBJECTS THAT CAN ONLY HOLD WHAT THEY WERE DESIGNED TO RELEASE, THEIR FORCE PERMANENTLY SUSPENDED. WEAPONS LEAVE MATERIAL RESIDUES — RECONFIGURED INTO OBJECTS THAT CAN ONLY HOLD WHAT THEY WERE DESIGNED TO RELEASE, THEIR FORCE PERMANENTLY SUSPENDED.
CURRENCY MELTED INTO A WEAPON TRACES THE BORDER BETWEEN INSTITUTIONAL LEGALITY AND CRIMINAL APPROPRIATION — A BORDER THAT IS THE OBJECT'S ONLY STABLE FEATURE. CURRENCY MELTED INTO A WEAPON TRACES THE BORDER BETWEEN INSTITUTIONAL LEGALITY AND CRIMINAL APPROPRIATION — A BORDER THAT IS THE OBJECT'S ONLY STABLE FEATURE.
ART HISTORY ARRIVES IN DELAY — NOT AS ORIGINAL BUT AS REPRODUCTION, NOT AS OBJECT BUT AS WHAT CIRCULATES IN ITS PLACE. ART HISTORY ARRIVES IN DELAY — NOT AS ORIGINAL BUT AS REPRODUCTION, NOT AS OBJECT BUT AS WHAT CIRCULATES IN ITS PLACE.

Bio

Education

Master's degree in Visual Arts, National Autonomous University of Mexico (UNAM) · SOMA educational program, Mexico City · Artist Program, Torcuato Di Tella University, Buenos Aires · Capacete, Rio de Janeiro.

Shows

  • ArteCámara, ArtBo Bogotá, Colombia · 2025
  • MuBAQ – Museo dei Bambini de L'Aquila Italy · 2024
  • Palazzo Lucarini Umbria, Italy · 2023
  • Museo Nacional de Bellas Artes de Neuquén Argentina · 2019
  • Galeria Vermelho São Paulo, Brazil · 2018
  • Casa del Bicentenario Buenos Aires, Argentina · 2018
  • Museo Nacional de Arte La Paz, Bolivia · 2017
  • Museo Tamayo de Arte Contemporáneo Mexico City · 2017
  • Museo de Arte Contemporáneo de Tamaulipas Matamoros, Mexico · 2015
  • Museo de Arte Moderno de Cartagena Colombia · 2014
  • Ex Teresa Arte Actual Mexico City · 2014
  • Museo de Arte Moderno de Bogotá Colombia · 2013
  • Museo de Arte Contemporáneo de Santa Cruz de la Sierra Bolivia · 2012
  • Museo de Antioquia Medellín, Colombia · 2010

Residencies

  • UNIDEE, Fondazione Pistoletto Cittadellarte Biella, Italy · 2026
  • Barda del Desierto Río Negro, Argentina · 2019
  • Kiosko Santa Cruz de la Sierra, Bolivia · 2017
  • 32° East Ugandan Arts Trust Kampala, Uganda · 2016
  • Nordic Artists' Centre Dale Norway · 2015
  • TEOR/éTica San José, Costa Rica · 2014
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