carlos eduardo monroy guerrero - Monroy`s Performance Art Services

CARLOS EDUARDO MONROY GUERRERO
[email protected] / [email protected]
performanceproductltda.blogspot.com.br
+55 11 970710913
Rua Mourato Coelho 799, apt. 74 / CEP 05417-011
São Paulo, Brasil.
Avenida Calle 127 No. 11B - 60 / CPC 110121
Bogotá, Colombia.
STUDIES
Masters Degree on Visual Poetics.
Universidade de São Paulo (ECA-USP).
São Paulo, Brazil.
Dissertation Day: 8th May 2014.
EMERGENYC 2012
New York Emerging Performers Program.
Hemispheric institute of Performance and Politics.
New York University NYU.
New York City NYC, USA.
2012.
Bachelor in Arts with emphasis in Electronic Media and Time Based Arts
Universidad de los Andes.
Bogotá, Colombia.
2009.
Bachelor in Arts with emphasis in Art’s History and Theory
Universidad de los Andes.
Bogotá, Colombia.
2009.
Exchange Student Program at São Paulo University (USP) 2006
Universidade de São Paulo.
São Paulo, Brazil.
From 2nd Semester 2006 to 1st. Semester 2007
ARTIST RESIDENCIES AND INTERNSHIPS.
Internship at the HIDVL Hemispheric Institute Digital Video Library (Four months)
Hemispheric institute of Performance and Politics.
New York University.
New York City, NYC, USA.
2012.
Colônia de Ferias. Artist meetings and residency. (Two weeks)
Independent Art Space: Ateliê 397.
São Paulo, Brazil.
2011
Atelie Aberto #5. Artist Residency (Three months)
Independent Art Space: Casa Tomada.
São Paulo, Brazil.
2011
Banff Centre for the Arts. Self-directed Artistic Residency (Three months)
Banff Centre for the Arts in association with Colombian Ministry of Culture.
Banff, Canada.
2010.
Genesis Project 2009. Artist Residency. (Three months)
Independent Art Space: Basekamp Philadelphia in association with Culture Push Inc.
Philadelphia, USA.
2009
EMAF 2005. Artist Residency
European Media Arts Festival 2005 in association with Medien Haus Osnabrück and
Biblioteca Luis Angel Arango ARTRONICA 2.
Ösnabruck, Germany.
2005
PROFESSIONAL ACTIVITY
Assistance Professor on Art Education for Undergraduate level.
Universidade de São Paulo
Classes: Education’s Methodology with practical workshops I, II, III and IV.
Undergraduate Art Education Department.
2013 - 2014
Assistance Professor on Art Bachelors for Undergraduate level.
Program for Improving educators teaching. (PAE)
Universidade de São Paulo
Classes: Sculpture II and Sculpture III
Undergraduate Art Bachelors Department.
2012 - 2013.
Researcher on Contemporary Art’s History and Theory.
International Center for the Art of the Americas at the Museum of Fine Arts
Houston ICAA-MFAH in association with University of Los Andes.
Universidad de los Andes
2009 - 2010.
Education Officer
Exhibitions: Bodegon con espejo y naranja.
Universidad de los Andes
2009 - 2009.
Researcher on Contemporary Art’s History and Theory.
Bank images of Colombian Contemporary Art. BAC.
Universidad de los Andes
2007 - 2008.
Assistance Professor on Art Bachelors for Undergraduate level.
Universidad de los Andes
Classes: General Assistance Professor on Electronic Media and Time Based Art program.
Undergraduate Art Bachelors Department.
2006 - 2007.
Assistance Professor on Art Bachelors for Undergraduate level.
Universidad de los Andes
Classes: Photography I, II, III and Photography Lab.
Undergraduate Art Bachelors Department.
2003 - 2005.
PRICES, AWARDS AND RECOGNITIONS
Sponsored Artist by the Ministry of Culture.
National Program for Stimulus in Art 2012 - Colombian Ministry of Culture
Sponsorship to participate at the RIAP 2012 festival in Quebec City.
Selected artist for the Paço das Artes. Temporada de Projetos 2012
Artist Project Selected for a solo exhibition trough international open call.
Paço das Artes, São Paulo, Brasil.
CNPq’s Master Degree Scholarship
Student Scholarship at University of São Paulo given by the CNPq founding (Centro
Nacional de Desenvolvimento Cientifico e Tecnológico) and the Embassy of Brazil in
Colombia. 2011-2013
Banff Residency Program in partnership with Colombian Ministry of Culture.
National Program for Stimulus in Art 2009 - Colombian Ministry of Culture
Selected project for complete a Self- directed Artistic Residency at the Banff Center for
the Arts. 2010
Sponsored Artist by the Ministry of Foreign Affairs.
Selected artist to be Sponsored by the Ministry of Foreign Affairs to participate in the
polish and german performance art festivals: Interackje, Ackja y Blow7! 2009.
Genesis Project 09 - Residency Program.
Selected International artist to be sponsored by Culture Push Inc. to complete the
residency program Genesis at Basekamp. Philadelphia, USA. 2009
Honourable Mention Thesis.
Honourable mention for the project Performance Product Ltda. presented as
Undergraduate Bachelors Thesis.
Universidad de los Andes. 2009
Verbo 08 - Sponsored Artist by the Institute Spain-Brazil
Selected Artist to be sponsored by the Instituto Brasil España to participate at the
international performance art festival VERBO08 at the Galeria Vermelho.
São Paulo, Brazil. 2008.
Special Selection Media Art Festival Friesland - Future Lives program
Selected work to be Part of the Future Live Program at the Video Fair of Culture.
Zagreb - Croatia. 2007
First Place at Artrónica2 International Festival of Electronic Arts.
Winner of the first place of the Festival and selected Artist to participate in a Residency
program done by the EMAF in Ösnabruck, Germany. 2005
SOLO EXHIBITIONS
Monroy’s: Re-fazendo o que se pode.
Ateliê 397. Curated by Julia Lima
May 2014. São Paulo, Brasil.
Monroy’s Living Cliche Since 1984
Oficina Cultural Oswald de Andrade. Curated by Julia Lima
São Paulo, Brasil. April 2014.
Re-formance à Deux.
Work in partnership with Fernando Pertuz. Galería Santa Fé.
Bogota, Colombia. September 2012.
Monroy’s Performance Art Services No. 1 Mr. Kosuth, What would you do?
Paço das Artes. Temporada de Projetos.
São Paulo, Brazil. August 2012.
CMG present 5 Core Pieces
La Agencia.
Bogotá, Colombia. August 2010.
El show de las estrellas Vol. 1 y Vol.2
Work in partnership with Laura Pardo. Sala de proyectos Universidade de los Andes.
Bogotá, Colombia. August 2009.
Performance Product Ltda.
Undergraduate projects 2008-01. Universidad de los Andes.
Bogotá, Colombia. May 2008.
Vitrina No 2. I see you kissing damn you look good!
Espacio La Vitrina. Universidad de los Andes.
Bogotá, Colombia. August 2007.
Vitrina No 1. The Jesus Flow Project
Espacio La Vitrina. Universidad de los Andes.
Bogotá, Colombia. April 2007.
GROUP EXHIBITIONS
2014
Mostra 3M Canções de Amor. Instituto Tomie Ohtake. Finalista Concurso de Arte Digital
Mostra 3M canções de amor.
Campo Minado 3. Multitudine solitudine. Espaço Art’er. Curatorial project by Lilian
Bado. São Paulo, Brazil.
Mostra Inaugural WARM art space. WARM art space. Curatorial project by Tomas Toledo.
São Paulo, Brazil.
2013
O Corpo Expandido. Galeria Jaqueline Martins. Curatorial project by Lucio Agra. São
Paulo, Brazil.
Sala de Leitura. Oficina Cultural Oswald de Andrade. Curatorial project by Galciane
Neves. São Paulo, Brazil.
Eveinto 2013. Ateliê 397. Curatorial project by Thais Rivitti and Marcelo Amorim. São
Paulo, Brazil.
8vo. Encontro Hemisférico de Performance e Política. Hemispheric Institut for
Performance and Politics. Escola SP de São Paulo. São Paulo, Brazil.
2012
Performance Colombie-Quebec. Le Lobe. Chicoutimi,Canada.
Reencontre Internationale d'art performance de Quebec. RIAP 2012. Le Lieu.
Quebec City, Canada.
É preciso confrontar as imagens vagas com os gestos claros. Oficina Cultural Oswald
de Andrade. Curatorial project by Paulo Miyada. São Paulo, Brazil.
After you die. Espacio 101. Curatorial project by Julian Leon. Work in partnership with
Rebecca Neaggle. Bogotá, Colombia.
WILL HAVE YOU / WANTING MORE. La Mama Club. New York City, NYC, USA.
Slicky Sweet Products. Grace Exhibition Space. New York City, NYC, USA.
Rapidinha 397. Ateliê 397. São Paulo, Brazil.
2011
Conclusão Ateliê Aberto #5. Casa Tomada. São Paulo, Brazil.
URBE Brote Urbano. Cultural Center Cooperación. Buenos Aires, Argentina.
Tricking the Everyday. Academie Galerie. Utrecht, Holland.
Encuentro en VIVO y Diferido. Urban Proposal. Bogotá, Colombia.
La permanencia de los efímero. Museo de Bellas Artes. Caracas, Venezuela.
2010
Caída y Recuperación. Performance Meeting. MAMBO. Bogotá, Colombia.
7A*11D - 8th International Biennal of Performance Art Mercer Union / Free Gallery /
Snt. Lawrence Market. Toronto, Canada.
Noche de Cortos Latinoamericanos. Café de Paris. Paris, France.
Habeas Corpus Museo Banco de La Republica. Curatorial program by José Alejandro
Restrepo y Jaime Bonilla. Bogotá, Colombia.
En Audiencia. Galeria Cero. Bogotá, Colombia.
2009
X-Lugar. Teatro Metro. Medellin, Colombia
Process and Practice. Genesis09. Basekamp. Philadelphia, United States.
Blow7! Aktualle Positionen der Performance Art aus Latinamerika. Curatorial Project
by Helge Meyer and Alexander del Ré. Ilsede, Bad Salzdetfurth, Germany.
Acción - Ackja Performance. Instituto Cervantes Krakow. Krakow, Poland.
International Art Festival INTERAKCJE - Festival of the Three Americas. Galeria Off
Warsow and Piotrków Trybulanski, Poland.
2008
7mo Festival de Performance de Cali. 41 Salón Nacional de Artistas. Cali, Colombia.
Proyecto Visionarios – Audiovisual en America Latina Instituto Itau Cultural. São Paulo,
Brasil
Festival Verbo 08. Galería Vermelho. São Paulo, Brazil
2007
Muestra Bogotá arte-acción 2007 - 27 al azar. ASSAP. Bogotá, Colombia
Future Lives program - Media Art Festival Friesland. University of Zagreb. Zagreb,
Croacia
Sui Generis. Universidade de los Andes. Curatorial program by Lina Castañeda Bonilla.
Bogotá, Colombia
2006
Victoria Independent Film Festival 2006. Victoria, Canada.
Media Art Festival Friesland 2006. Groningen, Holland
2005
EMAF 2005 (European Mediatic Art Festival). Osnäbruck, Germany.
Cuerpo Político Cuerpo Poético. Museo de arte U. Nacional. Bogotá, Colombia.
2004
Artronica 2 - Segunda muestra internacional de Artes Electrónicas. Biblioteca Luis
Ángel Arango. Bogotá, Colombia
Fotología 3 - Fragmentos de realidad. Galería Espacio Alterno de Uniandinos. Bogotá Colombia
2003
F/11 Perspectivas Fotográficas. Galería Casa Cano. Bogotá, Colombia.
Migraciones - Artefacto e identidad. Auditorio León de Greif; Punto de Encuentro,
Universidad Tadeo Lozano; Sala de Proyectos Universidad de los Andes. Bogotá,
Colombia.
Muestra Procesos 2004. Sala de Proyectos. Bogotá, Colombia.
ARTIST TALKS, SEMINARIES AND WORKSHOPS.
Pensamento em Re-formance. Workshop. Universidade de São Paulo.
S’il vous plaît, reforme l’action. Workshop. Galeria Santa Fé. Bogota, Colombia. 2012
Revoir l’action, l’action semble. Seminary. Galeria Santa Fé. Bogota, Colombia. 2012
Performance Art Daily. Artist Talk. Toronto Free Gallery. Toronto. 2010
Very Intensos Performers VIP Performance y teatralidade. Residencia en la Tierra.
Armenia, Colombia. 2010.
Helio Hincapie y Hippie se escriben con la misma H - Transmutation. Artist Talk. Casa
Tres Patios. Medellin, Colombia. 2009
Seminary Arte y Palabra. Artistic intervention during seminary. Universidad de los
Andes. 2008
Cafe Galeria 2008. Artist Talk. Invited artist to talk. 2008.
Seminary Arte y Humor. Artistic intervention during seminary. Universidad de los Andes.
2006
LANGUAGES
Spanish Native Speaker
English TOEFL internet based scored 101/120 - Advanced Level.
Português CELPEBRAS certificate - Advanced Level.
German Goethe Institute B1 complete – Intermediate level.
French FFLCH USP A3 complete -Intermediate level.
Turkish FFLCH USP A1 compelte - Beginners.
Artist Statement.
My name is Carlos Monroy. I am a Colombian artist currently living in São Paulo, Brazil. I’m
currently finishing my Master degree on Visual Poetics at the USP - São Paulo University for which I developed a research titled Thinking on re-formance: imitations, pastiches and
other tricks used by the artist. Most, if not all, of my artistic work is grounded in
performance art and questions the bounds between live- action, photography and video
as well as the limits between performativity and theatricality in “real” life. I have become
aware of performance as a way to express myself in an effective and appealing way
gazing at it with a critic distance. Constantly my pieces reread and recreate historical
performance-art pieces to point and comprehend that the living experience of the time
and space each piece offers is totally different. This characteristic made me developed at
the new term, re-forming, which I explained and defend deeply on my academic
approaches. Such thoughts had teaches me to be aware and to conscious spectators that
each piece is unique and unrepeatable, but above all changeable and mutable according
to the place where it is done and the ones who perform it. My recent works don’t
sympathise with the lake of definition and depth in the performance art practice today,
struggling with the understanding of live-action as a formalistic end instead of recognising
in it another medium to articulate in the art polyphonic discourse, that shows diverse
opinions and looks about social, political and aesthetics issues in order to get more of a
complete comprehension of global and local contexts.
Since my earlier pieces I involved my relatives, the public and myself dynamically in my art
practices using sense of humor and sarcasm to avoid the barriers that make the
connection between the art pieces and the spectators tricky or difficult. As an artist I
found humor to be the most efficient strategy to get closer to the public and make them
more aware of the critic and/or] ideas implied in my pieces. I understand performance as
individual actions done to be view by the spectators; this consciousness helped me to
develop a reading of performance as a show or as an event that looks after satisfying the
public who attends it. Taking advantage of this understanding I use elements such as
surprise, impact and absurdity to generate live actions that involve the public actively
without them noticing, for example letting them decide what I have to do or making them
laugh in the middle of the pieces to brake the ritualistic condition that performance have
come to assume.
When actions I perform in live time make me wonder about the space that my own body
occupies as social and political element is when my art practice and my creative process
starts. My pieces questions the clichés and stereotypes of the performance practice which
are constantly seen as obvious formalities inclining to ends as a bored and addles
experiences, regardless I used them with a conscious an critic tone or as self-sabotage.
This critical approach tends to help me to create theory and texts around the
performance practice and the body as vital elements of being inhabitants of the world. I
also question the nature and importance of the registering thinking in how to make each
register a piece itself, identifying the constant construction that performance art has. I
rather come with an idea to perform once I understand the body politics of where I’m
going. I think not all the questions ended in the same answer and not all the answers
necessarily attend to respond the same question.