Julieta Aranda
Julieta Aranda est née à Mexico en 1975
Elle vit et travaille actuellement entre New York et Berlin
La pratique artistique de Julieta Aranda se construit à la croisée de la nature, du temps et de la littérature spéculative. Elle observe l’évolution de la terre à travers le prisme de la technologie, de l’intelligence artificielle, des voyages dans l’espace et des hypothèses scientifiques. Par le biais d’installations, d’oeuvres vidéo et de médias imprimés, elle s’investit dans l’exploration potentielle de la science-fiction, des économies alternatives et de la “poétique de la circulation”. Ses projets remettent en question les frontières entre le sujet et l’objet tout en s’attachant aux rencontres fortuites, à l’autodestruction et aux processus sociaux. En 2006, elle a obtenu un MFA de la Columbia University School of the Arts à New York City. Auparavant, elle termine un premier cycle à la School of Visual Arts de Manhattan (2001). En tant que co-directrice de la plateforme en ligne e-flux avec Anton Vidokle, Julieta Aranda a développé les projets Time/Bank, Pawnshop, et e-flux video rental.
Le travail de Julieta Aranda a été exposé à dans de nombreuses institutions et manifestations internationales telles que Martin Gropius Bau, Berlin (2019) ; Momentum Biennale, Norvège (2019) ; FACT Liverpool (2018) ; PAM – Public Art Munich (2018) ; CAPC Bordeaux (2018) ; Museum of Contemporary Art, Detroit (2017) ; 56ème Biennale de Venise (2015), Der Tank, Bâle (2016) ; Guggenheim Museum, New York, (2009, 2015), Kunsthalle Fridericianum, Cassel (2015), 8ème Biennale de Berlin (2014), Museo Berardo, Lisbonne (2014), Witte de With (2010 et 2013), Museo d’Arte Contemporanea Villa Croce, Gênes, Italie (2013), la 12ème Biennale de Cuenca, Équateur (2014), MACRO Roma (2012) Documenta 13 (2012), NBK, Berlin (2012), 9ème Biennale de Gwangju (2012), 54ème Biennale de Venise (2011), 12ème Biennale d’Istanbul (2011), Portikus, Francfort (2011), New Museum, New York, (2010), Kunstverein Arnsberg (2010), MOCA Miami (2009), MCA Chicago (2007), 2ème Biennale de Moscou (2007) MUSAC, Léon, Espagne (2010 et 2006), et 7ème Biennale de La Havane.
The Organ, 2016 - Exhibition View, Der Tank, Art Institute, Basel, 2016
The Organ, 2016 - Exhibition View, Der Tank, Art Institute, Basel, 2016
Ghosts Nets, 2018 - Exhibition View, Gropius Bau, Berlin, 2018 ©photo: Mathias Völzke
Ghosts Nets, 2018 - Exhibition View, Gropius Bau, Berlin, 2018 ©photo: Mathias Völzke
All the Memory of the World [Bodies], 2019 - Exhibition View, Momentum Biennial, Norway, 2019
All the Memory of the World [Bodies], 2019 - Exhibition View, Momentum Biennial, Norway, 2019
All the Memory of the World [Bodies], 2019 - Exhibition View, Momentum Biennial, Norway, 2019
A Fanciful Strategy ? I might have known better..., 2015 - 3D scanning manipulation, 3D impression in high density resin, soft touches surface finishing, chrome surface finish
It will, it will, I've guaranteed it #6, 2015 - Giclée print on inova fibaprint
Stealing one’s own corpse [An alternative set of footholds for an ascent into dark], 2014 - Mixed media, video – Exhibition View, 8th Berlin Biennale, 2014
Stealing One's Own Corpse : Part 2 : Swimming in Rivers of Glue, 2016 - Digital vidéo, color, sound
Stealing One's Own Corpse : Part 3 (Politics Without Oxygen), 2019 - Digital vidéo, color, sound
Stealing one’s own corpse [An alternative set of footholds for an ascent into dark], 2014 - Mixed media, video – Exhibition View, 8th Berlin Biennale, 2014
Stealing one’s own corpse, 2019 - Exhibition View, iMAL Bruxelles, 2020 © Rob Battersby
Stealing one’s own corpse, 2019 - Exhibition View, iMAL Bruxelles, 2020 © Rob Battersby
Stealing one’s own corpse, 2019 - Exhibition View, iMAL Bruxelles, 2020 © Rob Battersby
Lip, Dip, Paint, Talk [Your Mouth is bleeding], 2019 - Exhibition View, Savvy, Berlin, 2019
Swimming in Rivers of Glue, 2017 - Exhibition View, mor charpentier, Paris
Swimming in Rivers of Glue, 2017 - Exhibition View, mor charpentier, Paris
6V – RECOGNITION , 2017 - Glass, plaster, and found books wrapped in latex – detail
All that we have in Common, 2019 - Exhibition View, Museum of Contemporary Art, Skopje, Macedonia
All that we have in Common, 2019 - Exhibition View, Museum of Contemporary Art, Skopje, Macedonia
Acéphale, 2013 - Exhibition View, Museo Villa Croce, Genova, 2013
Tools for infinite monkeys, 2008-14 - Exhibition View, Museo Villa Croce, Genova, 2013
Tools for infinite monkeys, 2008-14 - Exhibition View, Museo Villa Croce, Genova, 2013
The End[s] of the Library, 2012-2013 - Collaborative research project, Exhibition View, Goethe Institut, Berlin, 2013
Time/Bank, 2009-ongoing - In collaboration with Anton Vidokle, Exhibition View, dOCUMENTA 13, Kassel, 2012
I wanted to give it to Someone Else…. 2012 - Installation, Variable dimensions, Installation view, MACRO, Rome, 2012)
There Will be a Time…, 2009 - Exhibition View, Solomon R. Guggenheim Museum, New York, 2009, © Kristopher McKay)
There has been a miscalculation, 2007-2008 – A machine for perpetual Possibility - Exhibition View, The Kitchen, New York, 2008
You Had No 9th of May!, 2008 - Installation, Variable dimensions, Installation view at the Hessel Museum of Art, Annandale-on-Hudson, USA