Paco Cao was born in Asturias, Spain (1965.) He holds a PhD in art history from the University of Oviedo, Spain. Residing in New York since 1995, he is unfaithful to any particular medium. Employing a wide range of disciplines and materials, his work establishes a strong relationship between art, audience, and context as it challenges the boundaries between high and low culture. His work has been shown at and/or made in collaboration with MoMA, The Metropolitan Museum of Art, El Museo del Barrio, The New Museum, and Creative Time in New York City; as well as El Prado Museum (Madrid, Spain), The Reina Sofía Museum (Madrid, Spain), MUSAC (León, Spain), CGAC (Santiago de Compostela, Spain), Mercosul Biennale (Porto Alegre, Brazil); Carrillo Gil Museum (México City), MART (Rovereto, Italy), MAN (Nuoro, Italy), The Museum of Contemporary Art (Antwerp, Belgium), and BOZAR (Brussels, Belgium). He is the author of the following books: The Museum of the Victim, 2009; JP-UM, 2005; Fèlix Bermeu, A Hidden Life, 2004; Unknown, 2002, and Rent-a-Body, 1999. He is the director of the film Dance Poison (2009-2014). His work has been reviewed, among others, by The New York Times, The Village Voice, The New Yorker, The Huffington Post, Los Angeles Times, ArtNews, El País, El Mundo, ABC, La razón; and La Vanguardia.
THE MUSEUM OF THE VICTIM
The Museum of the Victim is a virtual museum dedicated to presenting current and historical data with the victim placed at the center of events. It does not focus on any specific period or people but rather is an ever-growing global narrative built around a complex role. The Museum of the Victim seeks to define the term victim broadly, exposing the complexity of the term as a concept. In doing so, its goal is to shed light on the events and circumstances surrounding this systematically neglected character within the context of historic and current affairs.
The Museum of the Victim strives to be as pluralistic as possible. To develop and maintain an independent and impartial attitude and a rigorous and accurate analysis, an exchange of ideas – at times confrontational ideas – is beneficial and necessary. In this spirit, The Museum of the Victim is open to and encourages contributions from other parties as well as challenges to the museum´s materials and analysis from all quarters.
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