Installations
Intervention: Wall Street 20116 large scale business suits, and 1 real size woman´s business suit. Assorted fabrics.Constructed in collaboration with Manuela Morales, New YorkDimensions of individual pieces: 350 x 79 x 53.5 cm (can vary)Total dimension of installation variablePerformed:First version, Intervention: Wall Street,2011 New York Financial District. Portrayed by the Brooklyn Jumbies with Laura Anderson Barbata. Exhibited:2012-2017 Transcommunality-Transcomunalidad, Laura Anderson Barbata, in various museums in Mexico and the US. Among them: Museo Textil de Oaxaca, Museo de laCiudad de Monterrey, CONART Monterrey, BRIC Brooklyn, University of Wisconsin,Cornel Museum Florida, Rutgers University. Photo: Stefan Hagen
Wall Street Bulls 2013 large scale business suits, assorted fabrics with cardboard headpieces, paintConstructed in collaboration with Manuela Morales, New YorkDimensions of individual pieces: 350 x 79 x 53.5 cm (can vary)Total dimension of installation variablePerformed:First version, Intervention: Wall Street,2011 New York Financial District. Portrayed by the Brooklyn Jumbies with Laura Anderson Barbata.Exhibited:2016-2017 Carnival and Masquerades in a Worldwide Perspective. Nationaal Museum van Wereldculturen, and Afrika Museum, Berg en Dal, The Netherlands (November 11th-March 26th 2017) Photo: Stefan Hagen
Epítome o modo fácil de aprender el idioma nahuatl (detail), 1996 62 figures of wax from Campeche with human teeth and hair on bamboo structures with rope. Dimensions variable. Installation view, VI Bienal de La Habana, Casa de México, Habana, Cuba. Exhibited: Museo de Arte Moderno, CDMX; Museo Kiscelli, Budapest; Fundación Telefónica. Madrid, Spain, among others
Installation view: Museo Kiscelli, Budapest, 2012
Installation view: Museo Kiscelli, Budapest, 2012
Yo no soy digno de que vengas a mi, pero una palabra tuya bastará para sanar mi alma, 1996 46 engraved pearls with the names of the Indigenous languages spoken today in Venezuela, cotton thread, and gesso ear in sheetrock wall 15 x 10 cm (6 x 4 in) Total dimensions variable
You Can't Read a Book By Its Cover, 1997 Wood hand, engraved pearl and wax 2 x 2.5 x 5 cm (3/4 x 1 x 2 in)
El puente. Autorretrato, 2001. Wood, rope, fiberglass. Total dimensions variable. Exhibited: X-Teresa Arte Actual; Freedman Gallery, Albright Center for the Arts, Reading PA. Private collection
¿Qué tiene que ver la piel, el pelo, la pluma, la madera con el jaguar, brujo, mago, sabio? 1998 Handmade paper using the New Testament in Spanish, Ye´Kuana, Yanomami, Ashuar, Maya and Quechua. Dimensions variable. Exhibited: Offenes Kulturhaus, Linz, Austria; Columbia College Chicago Center for Book and Paper Arts, Chicago, IL; Sotheby´s New York. Private Collection
Archive X, 1998 Handmade paper using the New Testament in Spanish, Ye´Kuana, Yanomami, Ashuar, Maya and Quechua, on bamboo structure. Dimensions variable. Exhibited: In The Order of Caos, Dieu Donne Papermill, 1996; Centrum fur Gegenwartskungst, Oberosterreich; Linz, Austria, 1998. Publications: Archive X Investigations of Contemporary Art. Essay by Elke Krassny, Centrum fur Gegenwartskungst, Oberosterreich; Linz, Austria, 1998. pp. 135; Kunstforum, Bd. 142. Stein, Axel. "Amazonien Alphabet", Lebenskunstwerke (LKW), Oktober-Dezember 1998, pp. 80-89; Terra Incognita, ensayo de Ilona Katzew, Ex-Teresa Arte Actual México, DF
Historia de las plantas de Nueva España, 1996-1997. Wood, candles, encaustic. Photo: Stefan Hagen
Historia de las plantas de Nueva España (detail for performance), 1996-1997. Wood, candles, encaustic. Photo: Stefan Hagen
Historia de las plantas de Nueva España, 1996-1997. Brochure and text to accompany installation. III Bienal de Monterrrey, Museo de Monterrey, México. 1997
Historia de las plantas de Nueva España, 1996-1997. Brochure and text to accompany installation. III Bienal de Monterrrey, Museo de Monterrey, México. 1997
Historia de las plantas de Nueva España, 1996-1997. Brochure and text to accompany installation. III Bienal de Monterrrey, Museo de Monterrey, México. 1997
El viaje. Autorretrato, 1996. Total dimensions variable. Carved canoe, wax figures, corn, plexiglass over paper and dry flowers. Exhibited at Dieu Donne, New York; Museo de Arte Moderno, Mexico DF; Kiscelli Múzeum, Budapest; Landesbank-Baden-Würtenburg, Germany; Sala Mendoza, Caracas, Venezuela, among others.
Remedios, 2006 Malasia paraffin-wax 180 x 64 x 44 cm. Installation view, Galería la Refaccionaria, Mexico D.F. Exhibited: 2006 Galería La Refaccionaria, México D.F 2005 John Connelly Presents, New York City.
Remedios, 2006 Malasia paraffin-wax 180 x 64 x 44 cm. (70 x 25 x 17 in) Installation view, Galería la Refaccionaria, Mexico D.F. Exhibited: 2006 Galería La Refaccionaria, México D.F 2005 John Connelly Presents, New York City.
Remedios, 2006 Malasia paraffin-wax 180 x 64 x 44 cm. (70 x 25 x 17 in) Installation view, Galería la Refaccionaria, Mexico D.F. Exhibited: 2006 Galería La Refaccionaria, México D.F 2005 John Connelly Presents, New York City. Catalogue: 2005 Bonds of Love, essays by Lia Gangitano, Chris Kraus and Lisa Jaye Young.
LAB works. Project installation at CAA7. 2002. Laventille, Port of Spain, Trinidad and Tobago
LAB work was an extension of GRAS Papermaking and library project in Grand Riviere, TT (initiated in 2001). The installation included the research conducted by the project: samples of fibers utilized and examples of paper made from each fiber, as well as examples of recycled paper and prints created by the participants. The exhibition invited attendees to bring a book to donate to a library for the residents of Grande Riviere. The exhibition also held papermaking and printmaking workshops led by the youth participating in GRAS.
Consuelo, 2002 DVD Projected onto religious statue 00:07:00 Loop Total dimensions variable Installation view, Ex-Santa Teresa Arte Actual, México D.F. Exhibited: 2002 Terra Incognita/Proyecto Intervenciones Sociales. Ex Teresa Arte Actual, México, D.F. 2003 Laura Anderson Barbata. Museo Kiscelli, Budapest, Hungría 2004 St. John the Divine Cathedral, New York Catalogues: Terra Incognita. Ex-Teresa Arte Actual México, DF and Ramis Barquet Gallery, New York 2002. Pp. 62-63 Laura Anderson Barbata. Kiscelli Múzeum Templomtér. Budapest, Hungary. 2003 pp. 16-17
Tours and Revolutions, 2001 Industrial carpet 106 x 152 cm (42 x 60 in). Exhibited: Tours and Revolutions, Freedman Gallery, Albright Center for the Arts, Reading PA among others
Legal but Illegitimate, 2001. Wood desks, video surveillance cameras, projector, leather and aluminum. Total dimensions variable. Installation view, Freedman Gallery, Albright Center for the Arts, Reading, Pennsylvania.
El que se fué a la Villa…, 2001 Wood, chairs, paint, gold leaf 231 x 73 x 73 cm (91 x 29 x 29 in). Exhibited: Tours and Revolutions, Freedman Gallery, Albright Center for the Arts, Reading PA
Terra Incognita, (detail), 2001 Chairs, taxidermy pigeons, wax, encaustic, golden crown, monitors, video loop 231 x 250 x 300 cm (91 x 98 x 118 in). Exhibited: Tours and Revolutions, Freedman Gallery, Albright Center for the Arts, Reading PA
Wishing Bone Reliquary (detail), 2001 Wood, 22k gold, surveillance camera 165 x 22 cm (65.5 x 8.9 in). Exhibited: Tours and Revolutions, Freedman Gallery, Albright Center for the Arts, Reading PA
Legal but Illegitimate (detail), 2001 Wood tables, video surveillance camera, projector, leather, aluminum and pigments. Exhibited: Tours and Revolutions, Freedman Gallery, Albright Center for the Arts, Reading PA
Oneness and Separateness, 2001 Wood bench, taxidermy pigeons, wax, paper and wood 90 x 100 x 50 cm (35.5 x 40 x 20.5 in). Exhibited: Tours and Revolutions, Freedman Gallery, Albright Center for the Arts, Reading PA
Autorretrato, 2001 Mechanical plastic bird, paper, wire and resin. 12 x 43 x 22 cm (5 x 17 x 9 in). Exhibited: Tours and Revolutions, Freedman Gallery, Albright Center for the Arts, Reading PA
Additional installation views are included in the sections:
Intervention: Indigo, Intervention: Wall Street, Self-Portraits and Transcommunality