karlo Andrei Ibarra

KARLO ANDREI IBARRA

Calle 17, S # 17, Magnolia Gardens, Bayam贸n, Puerto Rico, 00956 Ibarra.karlo@gmail. 939-260-4540

Sculptures and Objects Recent works

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Memoria colectiva, 2012, globo terráqueo, pintura de pizarra, 12 x 12 x16 pulgadas.

Collective memory, 2012, globe, chalkboard paint, 12 x 12x 16 inches.

Globo terráqueo pintado con pintura de pizarra sobre pedestal. La idea es que el espectador vuelva a dibujar y a delimitar la cartografía desde su imaginario personal. La pieza sugiere la ambigüedad de las fronteras a la vez que desmiente la veracidad de la información depositada en ese objeto.

Globe painted with chalkboard paint over pedestal. The idea is for the spectator can redefine the cartography from their personal imaginery. The work suggests the ambiguity of borders and at the same time denying the veracity of the information stored in the object.

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La gota, 2012( constitución) Sistema de goteo, libro de la Constitución de Puerto Rico, placa grabada, The drop 2012 ( Puerto Rican Constitution) dripping system on Puerto Rican Constitution, book stand, engraved plaque

La gota consta de una intervención basada en la Antigua tortura china o la tortura de la gota de agua conocida por ser una de carácter sicológica El proyecto consiste en adaptar un sistema conductor de agua en el techo, capaz de producir una gotera la cual estará encima del libro ‘’ Puerto Rico leyes fundamentales’’ específicamente en donde comienza la Constitución de 1952. El resultado final del proceso de goteo, los restos del papel y el material de texto ya convertidos en pulpa, quedan como remanente moldeable generando una reflexión sobre la reconstrucción de modelos sociales e históricos.

The drop consists of an intervention based on the ancient Chinese torture known to be a psychological torture. The Project consist in adapt a water-conducting system on the roof, capable of producing a leak which is over the book'' Puerto Rico'' Fundamental Laws where it begins the (1952) Constitution. The final result of leakage, the remains of the paper and the text material converted into pulp, makes a reflection on the reconstruction of social and historical models.

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Justicia poética 2012, balanza de la justicia, y hierbas para realizar sahumerios, 16 ½ x 21 ½ pulgadas.

Poetic Justice 2012, scale of justice, herbs for make spiritual cleanings, 16 ½ x 21 ½ inches.

Consta de una balanza de la justicia en la cual se quemará incienso, mirra etc. La balanza, como objeto, guarda cierta similitud con el instrumento que se utiliza para ejecutar limpias y sahumerios en prácticas religiosas, cuyo fin es eliminar obstáculos y purificar el aire. La pieza es una metáfora, en términos sociales, sobre la posibilidad o, más bien, la necesidad de redención o expurgación de los sistemas actuales.

The piece consists scale of justice in which will burn incense, myrrh and other herbs. The scale, as object, has some similarity to the instruments used to realize cleanings in some religious practices, which aims to eliminate obstacles and purify the air. The piece is a metaphor, in social terms, about the possibility or rather the need for redemption or expungement of current systems.

Medalla para el tercer mundo 2012, cintillo de medalla, caja de acrílato, pedestal, base de madera, 11 ¾ x 11 ¾ x 50 ½ pulgadas Medal for third World 2012, medal ribbon, wood base, pedestal, fabric. 11 ¾ x 11 ¾ x 50 ½ inches.

Esta pieza toma como punto de partida la referencia despectiva y el estigma que se ejerce sobre países subdesarrollados, tratados sobre el resto con evidente menosprecio. Este readymade, , ilustra el saqueo, en este caso mediante la ausencia del metal. El cintillo como medalla, al cual se confiere valor o sacrificio, evidencia la expropiación y el saqueo sufrido por Latinoamérica, cuyas consecuencias aún propician el que a sus países se les designe como territorios de inferior categoría.

This piece takes as its starting point the derogatory reference and stigma exerted on developing countries, the rest treated with obvious contempt. This readymade, whose roots date back to the post colonial systems implanted in the region, illustrates the looting, in this case by the absence of metal.

The headband as a medal, to which it gives value or sacrifice, evidence the expropriation and looting of America, whose consequences are still favoring that their countries were designated as areas of lower quality.

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Discurso contra la pared 2012, micrófono, stand, archivo sonoro, 58 x 34 ½ pulgadas Speech against the wall 2012, microphone, stand, sound archive, 58 x 34 ½ inches.

Micrófono y pedestal inclinado e inserto dentro de la pared del espacio de exhibición, archivo sonoro. En la pieza, un micrófono invertido, personifica el gesto del avestruz al esconder la cabeza, funciona como significación inversa a un aparato que por lo general es utilizado para amplificar mensajes de cualquier tipo. Esconderse, darle la espalda al espectador en este caso, es una invitación y un registro de la auto cancelación de ciertos discursos políticos actuales. Dentro de la pared, sin embargo, surgen pregones políticos, promesas fallidas de antemano.

In the piece, a inverted microphone embodies a ostrich gesture of bury its head, functions as a reverse meaning a device that is usually used to amplify messages of any kind. Hide, turn their backs to the viewer in this case, is an invitation and a record of self-cancellation of certain current political discourses. Within the wall, however, sounds political promises

Tempus Fugit, 2011, bandera negra de Puerto Rico ensamblada a macana de policía. ( bandera 3 x 5 pies) asta/macana( 6.5 pies x 10 pulgadas) Puerto Rican black flag attached to a police batton.

Su obra más reciente, es un refinado comentario sobre la situación política actual en la isla marcada por las protestas de estudiantes y la violencia en las calles. Una macana de policía que empuña una bandera en luto, “un monumento al estado como fuerza de poder” en palabras del artista, y el ‘tiempo que se escapa’ como una invitación precisamente a no perder el tiempo y mantener la esperanza en el futuro.

His most recent work is a fine commentary on the current political situation in the island marked by student protests and violence in the streets. A police baton wielding a flag in mourning, "a monument to the state as a force of power" in the words of the artist and the 'leaking time' as an invitation just to avoid wasting time and keep the hope for the future

Nación heroína, 2010, bandera confeccionada con ropa de deambulantes, 4 x 6 pies.

Heroin nation, 2010, flag made using homeless people’s clothing, 4 x 6 feets.

Slippery government, 2011.

Installation view

Slippery government, 2011, silkscreen on plastic floor sign , 12 x 12 x 26 inches.

Estas esculturas cuestionan el peligro que corren las estrategias de resistencia al ser codificadas o institucionalizadas. La idea es instalarlas en espacios politizados, para insertar mensajes en contra de la autoridad, etc.

These sculptures reflect the dangerous possibility that strategies of resistance can easily become codified or institutionalized. The idea is to install them in politicized spaces whereby inserting messages against authority.

(CIFO Cisnseros Fontanals Collection, Miami Florida)

No politics, 2011, silkscreen on plastic floor sign, 12 x 12 x 26 inches (CIFO Cineros Fontanals Collection, Miami, Florida)

Continental, 2007-2010, neon powered by solar light, 6 x 36 inches.

Installation view at Galería Haydé Santamaría, La Habana, Cuba,

Like many of Ibarra’s works, Continental, addresses issues of social, political, cultural and geographical boundaries. Vivo in America/ I live in America is a neon text piece powered by solar energy. His application of the word America convolutes the idea of a unified continent.

Used in common speech to refer to the United States of America, the term America seems to have been territorially reduced to a specific geopolitical context. The colloquial ascription results in a marginalization of all the other countries that form the continent and symbolically mark an economical and political weight.

As a native Puerto Rican, Ibarra’s proclamation of “Vivo in America” reclaims and amplifies the use of the word as a term of the Western Hemisphere. This simple act of enunciation resonates with ongoing issues of border regulations that restrict access to people and products based on national origins. As an artist, Ibarra employs a wide variety of means to rely social and political cognitions gathered from personal investigations. His work draws correlations

between

individual

and

national

identities

observations respective to a global community. text by Paola Santocoy( adjunct curator of 8 Mercosul Biennial)

and

makes

larger

Speeches 2009, bannana peels, oak barrel, speakers, cd, microphone stands, variable measurements.

The sound project, speeches began as a sound archive that documented past political campaigns on the island in 2008. This installation incorporates political speeches recorded from the campaigns along with banana peels, which refer to the trivialization of these political promises.

     

Hecho Puerto Rico,2008, souvenirs taiwaneses hechos en Puerto Rico, varios objetos, medidas variables.

Made in Puerto Rico, 2008, taiwanese souvenirs made by local artisans from Puerto Rico.

La mayor parte de la imaginería popular, de nuestros souvenirs y del recordatorio que un turista se lleva de Puerto Rico, esta hecho mayormente en Taiwán. Para una exhibición precisamente en este país, decidí hacer un research de los souvenirs de Taiwán, que luego fueron confeccionados en Puerto Rico, por artesanos locales y utilizando materia prima local.

Con este proyecto me interesaba darle un giro a la noción de la cultura importada y exportada, promoviendo la producción y la mano de obra local.

Most popular souvenirs in Puerto Rico are made in Taiwan. For an exhibition in Taipei Fine Art’s Museum, I conducted research on Taiwan’s souvenir industry. Later, I commissioned Puerto Rican craftsmen to replicate Taiwanese souvenirs using wood native to Puerto Rico.

In this project, I was interested in overturning the notion of import and export culture, while promoting local production and labor.

Cuando teníamos todas las respuestas nos cambiaron las preguntas, 2007, alfombra y texto bordado, 3 x 5 pies.

When we had all the answers they changed the questions, 2007, carpet and embroidered text, 3 x 5 feet (showed in Art Museum of Americas in Washington DC).

Esta pieza fue hecha para una exhibición en el Art Museum of Américas, museo que pertenece a la OEA, ( Organización de Estados Americanos). La alfombra daba la bienvenida a los mandatarios, embajadores de los distintos países. La intención era hacer que los políticos dejaran su huella y su pisada en una alfombra de bienvenida con un texto que habla sobre el futuro de los países Latinoamericanos, haciendo alusión a la falso de las promesas.

The work has a Mario Bennedetti quote (in Spanish) embroidered on a bone-whitecolored doormat. Here, the artist brings the notion of the failed utopia right down to a family-friendly scale, though he has also exhibited the text on a room-filling carpet at the Art Museum of the Américas in Washington, D.C., giving the work a larger political meaning. text by Pedro Vélez

Videos Projections Recent Works

La suerte está echada, 2012, Video loop, 6:18 minutos The die is cast, 2012, Video loop, 6: 18 minutes

Consta de un video en el que manos anónimas lanzan al aire un par de dados cuya numeración ha sido borrada. Los dados, usados por lo general en juegos de apuesta y azar, refieren de forma directa al afanoso e inútil intento por modificar lo inalterable. El empeño repetido, sin embargo, como acto de fe, cifra mediante el gesto reiterativo la posibilidad de transformación o cambio.

The video shows several anonymous poeple playing to put their faith using a pair of dice whose numbers have been removed, in an endless attempt to turn the tide of things.

Punto de fuga, 2012, Proyección de video, 5: 35 minutos.

Vanishing point, 2012, Video projection, 5: 35 minutes.

Punto de fuga es un sistema de proyección o un punto impropio situado en el infinito, además de ser un tipo de perspectiva en dibujo. Fuga, sin embargo, alude a una composición que gira sobre la repetición de un mismo tema; también refiere a escape o huída. En el video, un sujeto lanza una moneda. A la reincidencia de esta acción, ejercida como una apuesta, se unen varias personas que imitan el mismo acto. El repicar de monedas crea una sinfonía quebrada, una construcción sonora estridente. Al final, se muestra sólo un lado de las monedas mientras caen, del mismo modo que ocurre con algunos modelos económicos, políticos y sociales, donde a lo sumo es visible una cara; apenas un punto de vista sobre la realidad.

In the video a subject throw a coin over and over in an attempt to bet on changing the course of things. While the video takes is joined by several people trying to do the same thing over and over again creating a loud sound construction. At the end of the video shows the coins falling on one side, like many of the economic, political and social will always show one face and perspective on things.

El Maquinista, 2011, video proyección, 5: 57 minutos.

The Machinist, 2011, video projection, 5:57 minutes.

El maquinista es un proyecto de video que toma de referencia la manera en que los políticos utilizan la industria de la construcción para formular falsas ideas de progreso.

El video muestra una máquina excavadora en un paisaje virgen, que podría referir tanto a Puerto Rico como a otro país de Latinoamérica. La máquina es enfrentada y entrevistada con preguntas relacionadas al uso y manejo de terrenos, territorialidad, etc a la que la misma responde según su conveniencia.

The Machinist is a video projection which depicts how politicians use the construction industry for create false ideas of progress. The video shows a digger in an unspoilt landscape, which could refer both to Puerto Rico and other Latin American country. The machine is interviewed with questions about the use and management of land, territory, national autonomy, corruption, to which it responds at her convenience.

Crossover, 2009, video projection, 3: 11 minutes

En Crossover / Cruce, 2009, Ibarra solicita a transeúntes que deambulan por las calles de Puerto Rico cantar el himno de los Estados Unidos. Las prestaciones desencajadas y plagadas de errores se erigen en símbolo y síntoma del sueño del ciudadano medio puertorriqueño, marcado por el ansia desmedida de asimilación por la sociedad y modo de vida norteamericanas sin siquiera conocer la cultura y la lengua en cuestión.

In the music industry, the term crossover refers to the act in which an artist decides to sing in another language other than their first one. It also refers to success abroad, usually in the English speaking market and particularly in the United States. Also, etymologically, the term can also refer to the burden that an imposed language can have on a country and its people, carrying a linguistic cross over one’s back as a symbol of social and cultural stigma. In Puerto Rico, this practice is quite common and results in a cultural assimilation that is politically driven. Using as a reference the reality show American Idol, the video depicts average Puerto Rican citizens singing the USA national anthem, which amplifies the sociocultural distance between Puerto Rico and the United States. This, in turn, presents an uncomfortable tension when many of those who long for statehood often don’t know the language of the country they wish to assimilate.

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Aspirations, 2009, video projection, 2:41 minutes

This video presents a Puerto Rican citizen vacuum cleaning the entrance stairway of the country’s Capitol Building; the place where laws are revised. “Aspiraciones” in Spanish is a metaphor for physical cleanliness, but also for the cleansing of unsuccessful political events. In a literal English translation, however, it refers to the desire and hope of achieving something better.

Performances and actions Recent Works

in Museo of Turabo University, Puerto Rico

in Fundación Teorética, San José, Costa Rica.

plantains after one week

Remanentes, 2011- present Performance, racimo de plรกtano, maquina de tatuar, mesa hecha con madera de carga utilizada para exportar productos.

Remanents, 2011, green plantain, tattoo machine, wood table made with wood filler used to export and import products.

Remanents is an ephemeral piece, which points out the economic policies implemented in Latin America and the Caribbean by NAFTA. We tattooed a cluster of plantains using fragments of economic policies implemented in Central America. The decomposition process suggests the possibility of emancipation from one of the most important products of our region.

Porqué celebramos? 2007, performance, piñata, recortes de periódicos.

Why we celebrate?, 2007, News papers converted in confetti for piñatas, piñatas.

Para este performance, recorté noticias negativas de distintos diarios del país, hasta convertirlo en confeti para piñatas, el día de la inauguración colaboradores leían en voz alta titulares negativos de ese día, me dispuse a romper la piñata hasta esparcir el contenido. Al final los niños allí presentes comenzaron a jugar con los remanentes. I n this performance, I cut negative headlines from local Puerto Rican newspapers and converted them into confetti for pinatas. During the opening, collaborators read the negative headlines from that day, as I broke the piñata. The children who were there began to play in the remanents of the newspapers.

Maletas para inmigrantes, 2006, almohada y agarradera de maleta, documentaci贸n de acci贸n.

Briefcase for immigrants, 2006, modified pillow with briefcase handle.

The action consist in walk around immigrant area near by University Area, asking for home, all the request was rejected.

Prints/Photography Works

Voy a tener suerte , 2012 5 impresiones digitales sobre papel arches, 20 x 24 pulgadas c/u I’m feeling lucky, 2012, 5 digital prints , 20 x 24 inches each one.

Instalación de cinco impresiones digitales sacadas de screen shots del buscador de Google.

Por medio de la formulación de preguntas básicas sobre la condición humana: cuándo, dónde, cómo, por qué, se ilustran respuestas preestablecidas de orden político, social y económico. La pieza, por medio de la primera serie de opciones a cada pregunta, intenta indagar hasta qué punto funcionamos, no ya como individuos, sino como sociedades de acuerdo a respuestas, indicadores acartonados de fácil acceso emitidos a velocidad de relámpago por una máquina.

Installation of five digital prints taken from screen shots of Google search. Through the formulation of basic questions about the human condition: when, where, how, why, are illustrated preanswers political, social and economic development. The piece, by the first set of options to each question, tries to investigate how we function, not as individuals but as societies according to responses, indicators accessible wizened cast lightning speed by a machine.

Flesh Map, 2008, 40 x 52 inches, Lambda print.

Karlo Andrei Ibarra se ha interesado por estudiar los procesos de construcción de identidad del continente americano, tomando en cuenta la condición de subordinación y sub alteridad que sufren muchos de sus países, dada la permanencia de las estructuras poscoloniales y el consecuente aumento de la pobreza y miseria en sus poblaciones. Esta obra es una metáfora de un continente podrido que se muestra como “carne de cañón” en un sistema de cambio en el cual los tratados de libre comercio, enriquecen a las grandes corporaciones y afectan política, económica y socialmente a personas y naciones.

Texto por Sergio Tirado

CV

News: Group show at Radiator Gallery, New York, November 2012. (e)merge art fair, Washington D.C, USA, October 2012.

Concrete Ilussions, Villa Victoria Center for the Arts, Boston, U.S.A September 2012.

Featured in the new publication of Phaidon Press, Contemporary Avant –Gardes in 2013.

Solo show ‘’ SincretITSMOS’’ Museum of Contemporary Art and Design of San José, Costa Rica in 2013.

Karlo Andrei Ibarra ( San Juan, 1982) Education: 2005 BFA Painting and and Multidiciplinary Studies, School of Visual Arts of Puerto Rico.

Talleres: 2007 Artist Residency with Marcos Lora Read, Shool of Visual Arts of P.R 2007 Aprenver, theoretical workshop with César Martínez, School of Visual Arts of P.R. 2006 Residency program with Quisqueya Henríquez, School of Visual Arts of P.R. 2005 Multidiciplinary Workshop ‘’ Locals’’ with Ada Bobonis, School of Visual Arts of P.R. 2004 Workshops ‘’ Expanded Painting’’ with Fabián Marcaccio, School of Visual Arts of Puerto Rico.

Grants and prizes: 2011 [First Prize] 6th Central American Video Art and Digital Art Competition INQUIETA IMAGEN, Museum of Contemporary Art and Design of San José, San José, Costa Rica.

2011 People Choice Award, Video Art Festival, Optic Nerve XIII Video Festival, Museum of Contemporary Art of North Miami, Miami, USA. 2010 MUCEVI, Selected in the First Virtual Museum of Central American Video Art, San José, Costa Rica.

2009 Mention of honor, 2nd Young Art Competition, Oriental Group Bank, San Juan, Puerto Rico 2006 Lexus Production Grant for Artists, Community Foundation of Puerto Rico, Museum of Contemporary Art of Puerto Rico 2004 Travel Grant to ARCO, Madrid, Spain.

2003 Viota Gallery Prize, School of Visual Arts of Puerto Rico 2002 First Painting Prize, Art Museum of Puerto Rico.

Solo Shows: 2012 La suerte está echada( The Die is Cast), Area: Place for Projects, Caguas, Puerto Rico.

2011 Until Victory Lies!, Rica Gallery, San Juan, Puerto Rico.

2009 Souvenir Stories: Beyond the Paradise, (Solo Project), Photo Miami, Miami, USA. 2007 Each city can be another, Museum of Contemporary Art of Puerto Rico.

Walking towards the sun, Storehousegroup, San Juan, Puerto Rico.

Group Shows{ selection} 2012 (e)merge art fair, Washington D.C, U.S.A. Concrete Ilussions, Villa Victoria Center for the Arts, Boston, U.S.A Novo Museo Tropical, Fundación Teorética, San José, Costa Rica, curado por Pablo León de La Barra.

The Hive, 3rd Polygraphic Triennial of San Juan, Latin America and the Caribbean, curated by Rebeca Noriega, Ursula Dávila Villa.

Carry-on: Puerto Rico Inspected, Institute of Puerto Rican Art and Culture, Chicago, USA. Latin American Art Auction’’ Juannio’’ , Instituto Neurological Institute of Guatemala, Guatemala City. ‘’Universal’’ Video Art Program with no spoken words in a global language of

visual sensation, ARTEAMERICAS, Miami, USA, curated by Grela Orihuela.

2011 Trópico Abierto( Tropic Open, Gran Bienal Tropical(Tropical Biennial), Loíza, Puerto Rico, curated by Pablo León de La Barra.

6th Video Art and Digital Art Competition, Inquieta Imagen( Still Image), Museum of Contemporary Art and Design of Costa Rica, San José, C.R. Four minutes, thirty-three seconds, Legal Art Miami, curated by Omar LópezChahoud, Miami.

Electric Wedding( video screening) Miami Cinemateque, Miami Beach, USA. Carry-on: Puerto Rico Inspected, Clemente Soto Velez, Cultural and Educational Center, New York.

Optic Nerve XIII Video Screening, BIG SCREEN PLAZA, New York.

Dime que me quieres aunque sea verdad, Galería de Arte Villafranca, Galería Sicart, Barcelona.

De la Cruz Collection Contemporary Art Space, Miami, Florida.

Optic Nerve XIII Festival, Museum of Contemporary Art of North Miami, FL. Patria o Libertad! On Populism, Patriotism and Immigration, Museum of Contemporary Art Cánada, Toronto, Cánada, curated by Paco Barragán.

Carry-on: Puerto Rico, Inspected, Victoria Center for the Arts, Boston, National Art Show’’Art in the middle’’: 35 years of photography in Puerto Rico, Institute of Puertorrican Culture, curated by Mercedes Trelles.

Triangle c-s-c( caribbean/south/caribbean) Museum of Ex-Teresa de Arte Actual, México, curated by Eder Castillo.

Zona Maco, Centro Banamex, México City.

The Map: Critical Cartographies, Museum of Modern Art of Medellín, curated

by Jan- Erik Lundstrom.

Patria Libertad! Rethorics of Patriotism, Cobra Museum, Netherlands.

Preámbulo, Turabo University Art Musuem, Gurabo, Puerto Rico.

INDEPENDENCE-POP, Internacional Performance, Festival Puerto Plata, Dominican Republic.

2010 MUCEVI, Central American Museum of Video Art, San José, Costa Rica.

Regional Series, Antiguo Arsenal de la Marina Española, La Puntilla, Institute of Puertorrican Culture.

Patria o Libertad! Rethorics of Patriotism, Miami Dade College Art Gallery System, Miami, Florida, curated by Paco Barragán.

The Map: Critical Cartographies of the Present, El Parqueadero, Museo del Banco de la República, Bogotá, Colombia, curated by Jan-Erik Lundstrom. +/- Esperanza/ Hope, Museum of Contemporary Art and Design of Costa Rica, San José, Costa Rica, curated by Adán Vallecillo.

Imperial Video: Ramis Barquet gallery, New York, USA, curated by Nick Kilner.

The Nature of Things, Bienal of the Americas, Denver, USA, curated by Paola Santoscoy.

Qui Vive? 2nd Moscow International Biennial of Young Art, Glob(E)Scape Art Play Center, Moscow, curated by Daria Pyrkina.

Beijing Art Fair, 2010, China.

2nd Young Art Competition, Oriental Group {mention of honor}, San Juan, Puerto Rico. ‘’ Circa” International Art Fair, Rica Gallery, San Juan Convention Center, San Juan, Puerto Rico.

2009 National Art Show, Antiguo Arsenal de la Puntilla, San Juan.

Tendency, Art Museum of Caguas, Caguas, P.R, curated by Elsa Meléndez.

Alert Status, Yemayá Gallery, Hato Rey, P.R. The Map: Navigating the Present, Konsthall C, Stockholm, Sweden.

Publica 3, 2nd Polygraphic Triennial of San Juan, Latin America and the Caribbean, Antiguo Arsenal de la Marina Española curated by Julieta González, Jens Hoffmann, and Adriano Pedrosa.

(Solo Project). Circa, Internacional Art Fair, Convention Center of San Juan, Puerto Rico.

1st Young Art Competition, Oriental Group, San Juan, P.R.

2008 Scope Art Fair, The Storehousegroup, Miami, Florida.

The Map: Navigating the Present, Bildmuseum, Umea, Sweden, curated by Jan-Erik Lundstrom.

Art of Democracy, Mission Cultural Center for Latino Arts, Zapatista Gallery, San Francisco, California and Area: Lugar de Proyectos, Caguas, Puerto Rico.

Paper/ City: Scenes from the city, Art Museum of Caguas, Caguas, PR, curated by Elsa María Meléndez.

1st Sound Art Fair, La Respuesta, curated by Lisa Ladner.

Being Here: Mapping the Contemporary, #3 BUCHAREST BIENNIAL, Romania, curated by Jan-Erik Lundstrom and Johan Sjostrom.

Landings 8, Taipei Fine Arts Museum, curated by Joan Durán. ‘’Circa’’ International Art Fair, The Storehousegroup, Convention Center of San Juan, Puerto Rico.

2007 Ways of Political Art from Puerto Rico, Zones Art Fair, Miami.

Colectivo Puntos Suspensivos en 356: Actions, Objects, Documentation Galllery 356, Hato Rey, Puerto Rico.

Colectivo Puntos Suspensivos, Art Museum of Puerto Rico.

Landings 7, Casa las Américas, La Habana, Cuba, curated by Joan Durán.

Arte of Uncertainity in colaboration with Art Museum of El Salvador, San Salvador.

Where miracles takes places, Carlos Irrizarry Art Gallery, San Juan, P.R. Landings 5, Art Museum of Americas, Washington DC, curated by Joan Durán.

Re-Mapping the Caribbean, Museo de las Casas Reales, Santo Domingo.

Casa Candela, Hotel Second and Third floor, Circa, San Juan, Puerto Rico.

Angora collective, Circa International Art Fair Caguas, Puerto Rico.

Wait: Ways and modes , Carlos Irrizarry Art Gallery, San Juan, P.R.

Start a Rumor, Colectivo Puntos Suspensivos, Espacio = Desto, Santurce, Puerto Rico.

Today, BLACKBOXART FOUNDATION, San Juan, P.R. Colectivo Punto Suspensivos, Maratón de Acciones, ARWI, San Juan, P.R Instalación Unidad de Información Transportable, Divulgación de Historia con Axe Street Arena, School of Visual Arts of Puerto Rico and Art Institute of Chicago.

2006 Contemporary Practices, La Casa del Arte, Puerto Nuevo, P.R. Open Call, Carlos Irizarry Art Gallery, San Juan, P.R 2005 Group show, Viota gallery, San Juan, P.R. Something, TAGROM, San Juan, Puerto Rico.

Group show, TAGROM, San Juan, Puerto Rico 2nd Internacional Digital Art Competition, Museum of Contemporary Art of Santa Fé, Argentina.

Colecciones : Turabo University Art Museum, Gurabo, Puerto Rico.

Cisneros Fontanals Collection, Miami, Florida.

Central American Museum of Video Art, San José, Costa Rica.

Santa Fé Museum of Art, Santa Fé, Argentina.

Bibliography: 2011 Código Magazine, # 62, Young Art from Latino America, la apuesta de 10 curadores, texto por Paola Santoscoy. 10 emergent young artists from Latin America, text by Paola Santoscoy.

2010 Frescos, 50 Puerto Rican artists under 35 years old, edited by Celina Nogueras Cuevas.

Patria o Libertad in conversation with Paco Barragán, article by Raiza Clavijo, Art Districts Magazine.

Con la isla en una maleta, article by Leyra Gonzalez, El Nuevo Dia, julio, 20 de Julio de 2010.

Karlo Andrei ibarra Vive en América, article by Trance Líquido(online publication) Biennial of Americas, article by Kristin Korolowicz, Artlurker, (online publication).

Denver Biennial of Americas Announced Inagural Exhibition, Artdaily( online publication).

More from the Biennial of Americas, article by Edie Adelstein, Indy Blog, June, 30, 2010.

Defining Biennial’s moment in art, article by Kyle MacMillian, Denver Post, 9 de Julio de 2010.

Interview with Paola Santoscoy, article by Leanne Goebel, Adobe Airstream magazine(online publication).

Denver’s Biennial of the Americas Comes Together, article by Leanne Goebel, The Huffingston Post, April 2, 2010.

The Nature of Things, article by Sussanah Connell, ICOSA magazine, ( online

publication).

Muestra Nacional de Arte, article by Manuel Alvarez Lezama, Arte al Día International, jueves 8 de abril de 2010.

2009 Korolowicz, K., Lerner, S., Ortiz, M., Szupinska, J. “Trienal Poli/Gráfica de San Juan | Puerto Rico,” review in artUS, issue 28.

Karlo Andrei Ibarra, article by Carla Acevedo, Dawire, December, 2009.(online publication) Tendencia, article by Lilliam Nieves, Trance Liquido, Septiembre 28, 2009. (online publicaction) La Mostra, article by Miguel Rodriguez Casellas, El Nuevo Dia, 17 de diciembre de 2009.

Sobre Aspiradoras, Almohadas y Mapas, article by Ingrid Jimenez, Revista Alrrededores de Diálogo, año IV No. 45 , Noviembre, 2009.

El Arte y su mirada al Sur article by Carlos Antonio Otero, El Naufragio de las palabras. ( online publication).

Miami Art Fair’s Week article by Cara Despain, Art Pulse Magazine No. 2 December- January 2009-10.

Ciudad de Papel, article by Sheila Mojica Rivera, Primera Hora.

Puerto Rican Sun article by Walter Robinson, Artnet magazine ( online publication).

2008 Raw Look, article by Jane Neal, Staatchi Online Magazine.

BB3 Being Here: Mapping The Contemporary, Pavillion Magazine, # 12, Vol. 2, 23 May- 21 June, 2008.

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