"MAY 1st, 1981 - FEBRUARY 1st, 2013"
Marmolejo Artist Statement In English DOWNLOAD PDF
Marmolejo Artist Statement In Spanish DOWNLOAD PDF
Maria Evelia Marmolejo (Pradera, Colombia 1958) one of the most radical performance artists to emerge in the 1980s in Latin America.
The political and feminist performatic work by Maria Evelia Marmolejo started in the late 1970s in Cali, Colombia. In her work, the woman’s body plays a powerful role addressing socio-political issues, pertinent to Latin America and the world at large.
Marmolejo’s work has been shown both inside and outside the art institution, often taking place in secluded locations away from the public view, others in public places with or without the authorities consent, and also in institutions such as Museum of Modern Art of Bogota, Museum of Modern Art Cartagena, Contemporary Art Museum Guayaquil.
Conferences include History of Contemporary Art in Latin America, Universidad Central of Quito and in the Contemporary Museum and Pinacoteca of Guayaquil, Ecuador; The History of Pre-Colombian Performance Art to present day, State Institute of Fine Arts of Cali, Colombia; Poisoning Pachamama, Plan Colombia, York College, New York; International Interests Behind Illicit Crops, York College, New York.
Her work has been published through research projects such as Re.Act.Feminism, a performing archive based in Berlin, and articles in international publication such us Art Nexus and Arte y Critica. Marmolejo’s work will be on view in the context of the historical exhibition “The Political Body: Radical Women in Latin American Art: 1960-1985”, which is curated by Cecilia Fajardo-Hill and Andrea Giunta.
Maria Evelia Marmolejo is a New York based Colombian artist and holds a Master of Arts in Humanities from The City University of New York.
MAAS Talk Maria Evelia Marmolejo in conversation with curator Cecilia Fajardo-Hill.
Cecilia Fajardo-Hill is a British/ Venezuelan art historian and curator in modern and contemporary art, currently based in Southern California. She has a PhD in Art History from the University of Essex, England, and an MA in 20th Century Art History from the Courtauld Institute of Art, London, England.
Fajardo-Hill was the Chief Curator and Vice-President of Curatorial Affairs at the Museum of Latin American Art, MOLAA in Long Beach, California Between 2009 and 2012. She was the Director and Chief curator of the Cisneros Fontanals Arts Foundation (CIFO) –a non-profit organization devoted to the promotion of contemporary art from Latin America-, and the Ella Fontanals Cisneros Collection –an international collection of contemporary art-, Miami, USA between 2005 and 2008. She was general director of Sala Mendoza, an alternative space for contemporary art in Caracas, Venezuela, between 1997 and 2001.
At present she is co-curating with Andrea Giunta the exhibition The Political Body: Radical Women in Latin American Art 1960-1985, a survey of radical artistic practices by women artists in Latin America for the Hammer Museum, Los Angeles to open in 2017 under the umbrella of the Getty initiative PST LA/LA. Fajardo-Hill is currently also curating the Sayago & Pardon initiative, Abstraction in Action, a multi platform project on contemporary abstraction in Latin America. Fajardo-Hill is the general curator of the XIX Bienal Paiz in Guatemala to open in June 2014, together with Anabella Acevedo, Rosina Cazali and Pablo Ramírez.
In October 2012: co-curated with Idurre Alonso and Selene Preciado LA to LA: Selections from the Sayago & Pardon Latin American Art Collection, LA Artcore, Los Angeles. At MOLAA she was the overarching coordinator MEX/LA: Mexican Modernism(s) in Los Angeles 1930-1985/A Pacific Standard Time exhibition, 2011, Museum of Latin American Art, Long Beach. In 2012 she organized Esteban Lisa: Playing with Lines and Colors; The Wave: MOLAA’s First Exhibition Fund Auction, and she co-organized touring exhibition Sociales: Débora Arango Arrives Today, Museo de Arte Moderno de Medellín, Museum of Latin American Art, Long Beach; The Mint Museum, Charlotte; Museo del Barrio, New York. In 2012 she organized co-curated in 2011 the video exhibition Unresolved Circumstances and in 2012; and Play with Me. In 2010 she inaugurated the Project Room Series at MOLAA, showcasing Leandro Erlich and subsequently Mariana Castillo Deball, Jorge Mendez-Blake, Gabriel de la Mora and Johanna Calle.
In December 2006 she curated the contemporary art exhibition: Forms of Classification: Alternative Knowledge and Contemporary Art and in December 2007 Fortunate Objects, both at CIFO. While directing CIFO, she worked closely with guest curators and organised exhibitions such as: The Prisoner’s Dilemma: Selections from the Ella Fontanals-Cisneros Collection (curated by Leanne Mella) and Sites of Latin American Abstraction, (curated by Juan Ledezma) December 2006; Beyond Delirious: Architecture in Selected Photographs from the Ella Fontanals-Cisneros Collection (curated by Christopher Phillips) and Indeterminate States: Video in the Ella Fontanals-Cisneros Collection (curated by Michael Rush).
She has curated and organised numerous exhibitions of emerging and mid-career contemporary artists from Latin America, such as: Interrogating Systems: Grants and Commissions Exhibition, CIFO 2008; Three Perspectives: Eugenio Espinoza, Alvaro Oyarzun and Jose Alejandro Restrepo, 2007 Commissions Program Exhibition, CIFO; Positions in Context: Grants Program Exhibition 2007; 10 Defining Experiments: Grants Program Recipients 2006; Alexander Apostol: Savage Modern / Magdalena Fernandez: Surfaces, CIFO 2006; Tomas Saraceno and Jarbas Lopes, CIFO Residency Program Exhibition, May 2005. Between 1997 and 2001 she curated numerous shows of Venezuelan artists such as: Alexander Apóstol, El Grupo Provisional, José Antonio Hernández-Diez , Maggy Navarro, Juan Carlos Rodríguez and Javier Téllez; as well as solo shows of international artists such as Laura Anderson, Candice Breitz, Susan Hiller, Mona Hatoum and Steve McQueen. In 2001 she curated the Venezuelan and Colombian sections of the Survey exhibition Políticas de la Diferencia. Arte Iberoamericano Fin de siglo. Generalitat, Valencia, Spain.
She conceived and organized the international Symposium Between Theory and Practice: Rethinking Latin American Art in the 21st Century at the Museum of Latin American Art, Long Beach, in collaboration with the Getty Research Institute which took place at MOLAA and the Getty in March 2011 and in November 2011 at MALI, Lima, Peru.
In October 12012 was guest lecturer at CalArts (California Institute for the Arts) for the Class “On Collaborating”, CalArts, Valencia, CA. In September 2012, participated in First International ARTE!Brasileiros Seminar ‘Public Collecting in 21st Century Brazil’, Auditorium Ibirapuera, Sāo Paulo. In July 2013 participated in Encuentros Transatlánticos: discursos vanguardistas en España y Latinoamérica, Reina Sofía, Madrid. In June 2013 participated in the Getty Foundation “Connecting Art Histories” Initiative: Grounds for Comparison: Neo-Vanguards and Latin American and U.S. Latino Art: First Research Seminar: Sincronicities, contacts and divergencies at the University Jorge Tadeo Lozano, Bogotá.In June 11 and 25 2011 she gave two lectures organized by the Getty Education Department in the context of the Getty exhibition A Revolutionary Project: Cuba from Walker Evans to Now which took place both at the Getty and MOLAA. In May 2011 participated in the Round Table Curadores de arte latinoamericano: agendas y desafíos (Latin American Art Curators: Agendas and challenges), during ArteBA, Buenos Aires; In February 2011 she participated in the Latin American Art in the Now Session at the College of Art Association Conference 2011 in New York; in February 2010 presented Shattering the Stereotype, a lecture for The Americas Series 2010, Phoenix Art Museum, Arizona; in March 2009 she coordinated and moderated Arteamericas Talks: “Latin America in today’s Global Art Market”, Miami; in March 2009 she participated in the “Revisiting the Latin Boom” Session at the College of Art Association Conference 2009 in Los Angeles. In February 2003 she chaired a round table on ethics and contemporary art at ARCO, Madrid. She has participated in conferences and events such as: Producers: Contemporary Curators in Conversation Series at Baltic, Newcastle, England, February 2003; Curatorial Practice and Criticism in Latin America, The Center for Curatorial Studies at Bard College, New York, March 2001; Encuentro de Teoría y Crítica, VII Havana Biennale, Cuba, November 2000; II Congreso Crítica de Arte Latinoamericano, Generalitat, Valencia, Spain, March 2000; 2do Foro Latino-Americano: “Territorios Ausentes”, Museo Extremeño e Iberoamericano de Arte Contemporáneo, Badajoz, and Casa de América, Madrid, February 1998; 24th Annual Conference of the Association of Art Historians: Questioning the paradigm of race identity, University of Plymouth at Exeter, England, April 1998.
Cecilia Fajardo-Hill has written on artists such as Mona Hatoum, Laura Anderson, Jimmie Durham, José Bedia, Elias Crespin, Johanna Calle, Artur Lescher, Maria Evelia Marmolejo and Carlos Capelán, and on contemporary art and artists in Venezuela and Latin America. Some publications are: 2013: ‘Adriana Bustos’ Anthropophagy’ in Adriana Bustos, Ignacio Liprandi Arte Contemporáneo, Buenos Aires. 2012: ‘Esteban Lisa’s Own Abstraction’ in Esteban Lisa: Playing with Lines and Colors, Museum of Latin American Art, Long Beach; ‘Elias Crespin: The Interplay between the Material and the Immaterial’ in Elias Crespin: Parallels, Cecilia de Torres, New York; ‘Maria Evelia Marmolejo’s Political Body’ in Art Nexus, Issue #85, Miami, USA; ‘Débora Arango: Art has Nothing to Do With Moral’ in Sociales: Débora Arango Arrives Today, Ediciones MAMM in association with Museum of Latin American Art, Long Beach; ‘Conversation’, in Pulsos de la Abstraccion en Latinoamérica: Colección Ella Fontanals-Cisneros / Pulses of Abstraction in Latin America: The Ella Fontanals-Cisneros, Ella Fontanals-Cisneros, Cecilia Fajardo-Hill and Jesús Fuenmayor, Turner, Madrid. 2010: Play-Back in Rafael Lozano-Hemmer Recorders, Manchester Art Gallery, Manchester, UK.; Johanna Calle’s Meaningful Abstraction in Variations: Drawings by Johanna Calle, Galeria Casas Reigner, Bogota, Colombia; Leandro Erlich: Lost Garden, Museum of Latin American Art, Long Beach, California; ‘Artur Lescher: The Meaningful Geometry’ in Arte al Dia International; Fortunate Objects, CIFO, 2007; Forms of Classification: Alternative Knowledge and Contemporary Art, CIFO, 2006; ‘Jimmie Durham’ essay in Black My Story, Museum de Paviljoens, Alemere, NL, August 2003; Editor of La Sala Mendoza: 45 años haciendo la historia del arte contemporáneo en Venezuela, Caracas, Venezuela, December 2002; ‘Venezuela en los 90: Contexto o Descontexto del arte?’ essay in Políticas de la Diferencia. Arte Iberoamericano Fin de siglo, Generalitat, Valencia, Spain, 2001; La contextualidad abierta de Mona Hatoum, Sala Mendoza, Caracas, Venezuela; ‘Mi Casa no es mi casa: Imaginar los Transterritorial’, essay in Gerardo Mosquera ed., I y II Foro Latinoamericano, Museo Extremeño e Iberoamericano de Arte Contemporáneo, Badajoz; 2000: ‘Mona Hatoum’, essay, Centro de Arte Reina Sofía, Madrid, España; 1999: Laura Anderson Barbata, Galería Ramis Barquet, New York; 1997: ‘Primer Plano: José Bedia: Crónicas Americanas’, Art Nexus, No. 26, Bogotá, Colombia.