Javier Tapia and Camilo Ontiveros, Traveling Dust, 2014, video


Pilar Tompkins Rivas is Coordinator of Curatorial Initiatives at the Los Angeles County Museum of Art (LACMA). Currently she is co-curating the exhibitions A Universal History of Infamy and Home – So Different, So Appealing for LACMA in conjunction with the Getty’s Pacific Standard Time: LA-LA initiative slated to open in 2017. Within her role at the museum, she co-directs the UCLA-LACMA Art History Practicum Initiative and The Andrew W. Mellon Undergraduate Curatorial Fellowship program.

Since 2002, she has curated and organized dozens of exhibitions in the US, Colombia, Egypt, France, and Mexico working with established, mid-career, and emerging artists from around the world.  As part of the Getty Research Institute’s Pacific Standard Time: Art in L.A. 1945-1980, Tompkins Rivas curated Civic Virtue: The Impact of the Los Angeles Municipal Art Gallery and the Watts Towers Arts Center and co-curated the suite of exhibitions, L.A. Xicano, at LACMA, UCLA’s Fowler Museum, and the Autry National Center. Previously she was Curator and Director of Residency Programs at 18th Street Arts Center, and has held positions as Arts Project Coordinator at the UCLA Chicano Studies Research Center, Curator of the Claremont Museum of Art, and Director of the Latin American branch of the Artist Pension Trust.

Assistant Curator

Ana IwatakiAna Iwataki (born in Los Angeles, CA, lives and works in Paris, France) is the Co-Director of the project space Shanaynay in Paris and Associate Curator and Gallery Manager of Mayeur Projects, a gallery and residency opening in Las Vegas, New Mexico in 2016. She also works as an independent curator, writer and translator.

Previous projects include the book Jim Shaw: The Hidden World, released on the occasion of his exhibition at the Chalet Society in Paris and Ceci n’est pas: Art Between France and LA. She has worked with Pilar Tompkins Rivas on numerous exhibitions, including Bas Jan Ader: Suspended Between Laughter and Tears at the Pitzer Art Galleries and Civic Virtue: The Impact of the Los Angeles Municipal Art Gallery and Watts Towers Art Center, as part of Getty Pacific Standard Time.



A Decolonial Atlas: Videos from the Americas, 2010-2015

Drawing from the hemispheric context of the Americas, and broad questions of civilization and culture, A Decolonial Atlas presents recent video works by ten artists from Chile, Colombia, Guatemala, Mexico, and the United States grappling with continued questions of colonialism and postcolonialism in an effort to locate “place” in contemporary society. Divisions between the “material” and “spiritual” development of culture, a distinction advocated by Alexander von Humboldt after his expedition in North and South America at the beginning of the nineteenth-century, untether inherited and ancestral knowledge formations from empirical observation. Such ethnographic accounts of the Americas by European colonizers are representative of the contested histories and colliding worldviews that have unfolded over past centuries, and which have replicated in the modern era under new geopolitical forces. In the twenty-first century, contemporary artists actively contend with this legacy to broach new discourses of decolonization. Foregrounding questions of place and positionality, these artists seek to unsettle established narratives through counter-hegemonic perspectives.  Presented in three vignettes, the artworks in this exhibition consider an alternative mapping of the region, charting new courses for the present and future.

Recasting Indigeneity

Works by Laura Huertas Millán, Camilo Ontiveros, Javier Tapia and Carolina Caycedo subvert the exoticized view of indigenous cultures in the European gaze, by reasserting native identity formations, beliefs and practices.  In Viaje en Tierra Otrora Contada (Journey to a Land Otherwise Known) (2011), Huertas Millán appropriates early European reports of the New World by staging her own imitative expedition in a tropical greenhouse in France, thus drawing out the extreme misrepresentations engendered in such texts. Travelling Dust (2014) by Camilo Ontiveros and Javier Tapia bridges sites across Chile, Mexico and Los Angeles to trace a circulation of people, economies, and culture, investigating landscape, issues of labor and the notion of homeland.  Exploring the ideas of flow and containment, Caycedo’s Spaniards Named Her Magdalena, But Natives Call Her Yuma (2013) tells the story of Colombia’s principal river, the Magdalena, drawing parallels between the oppressive power formations of water dams and militaristic methods of social control.

Dislodging Time

Rupturing a linear notion of time, videos by Tania Candiani, Naufus Ramírez-Figueroa, and Raul Baltazar maneuver the viewer out of an ordered Gregorian clock into abstract cycles. Candiani’s Tiempo Circular / Circular Time (2013), stages a marching band in rural Colombia in the formation of a rotating clock, yet through the waxing and waning of the music, a cyclical and prolonged sense of the passing of time emerges. Historical periods collide together in Ramirez-Figueroa’s A Brief History of Architecture in Guatemala (2010, 2013), wherein the costumes of dancers representing pre-Columbian, Colonial, and Modern eras of architecture devolve, denoting the failures of such periods of empire. Tochtli’s Vision (2011) by Raul Baltazar samples snippets of found videos mirroring an abruptly changing dream-like state, interweaving mythologies from Mexican culture, and referencing the truncated time we experience in the digital age.

Intervening the Archive

Artists Carlos Motta, Ivan Argote, and Eamon Ore-Giron intervene in the official narratives of specific places and events, broadening the confines of the archive. Motta’s Deseos / رغبات (Desires) (2015) draws from historic material (and the absence of such documents) relative to legal and religious classifications of  identity constructs, to foreground issues of the sexual and gendered body in the colonial period in Colombia and the late Ottoman Empire in Beirut.  Enacting the imagined spaces of clandestine narratives, the protagonists in Argote’s La Estrategia (2012) reconstruct the daily activities of revolutionary groups in Colombia in the 1970s and 1980s. Lastly, in Morococha (2015), Ore-Giron intercedes the anonymity of corporate, global economic practices to chronicle the aftermath of a community’s decimation in Peru due to a transnational conglomerate’s purchase of the region’s natural resources.



Deseos / رغبات
A film produced by Council, Galeria Filomena Soares, Lisbon and mor charpentier, Paris 2015

Carlos MottaCarlos Motta (born Bogotá, 1978) is a multi-disciplinary artist based in New York. He won the Future Generation Art Prize, Kiev in 2014. His work has been presented internationally at Tate Modern, London; Jeu de Paume, Paris; New Museum, Guggenheim Museum and MoMA/PS1, New York; Museu d’Art Contemporani de Barcelona (MACBA); X Gwangju Biennale; X Lyon Biennale; and International Film Festival Rotterdam (IFFR). Röda Sten Konsthall in Gothenburg presented a career survey exhibition of Motta’s work in 2015.

He will also have solo exhibitions at Pinchuk ArtCentre, Kiev (2015); Mercer Union, Toronto; PPOW Gallery, New York; Hordaland Kunstsenter, Bergen; Perez Art Museum (PAMM), Miami; and MALBA-Museo de Arte Latinoamericano de Buenos Aires (2016).

Spaniards Named Her Magdalena, But Natives Call Her Yuma, 2013
2 channel HD video installation, Sound and Color

Caycedo_YumaStillFisherwomanCaycedo_YumaStillCarolina Caycedo’s (born in London, 1978; lives and works in Los Angeles) practice moves beyond the bounds of the studio, gallery and institution, extending into the realm of the social, where she explores systems of movement and exchange, as well as processes of assimilation and resistance. She engages with issues and contexts that affect a broad public on an everyday level; in her work, art functions as a tool for offering alternative models to inhabit a world in which individuals and communities are increasingly subject to commodification, exploitation and discrimination. She has developed publicly engaged projects in Bogotá, Madrid, Lisbon, San Juan, New York, San Francisco and London. Her work has been shown by Creative Time, the Queens Museum, Vienna Secession and DAAD Gallery in Berlin. She has participated in numerous international biennials, including Berlin (2014), Havana (2009), Venice (2003) and Istanbul (2001). In 2012, Caycedo was a DAAD Artist-in-Berlin resident.


Morococha, 2014
2 channel HD, stereo audio, TRT 23min

Ore Giron_MOROCOCHA_PIPE_MedEamon Ore-Giron’s paintings, works on paper, and installations blend ideas of art concrete with personal language, creating a unique vocabulary rooted in deceptively simple shapes, designs and colors; as well as thematics. Ore-Giron received a BFA from San Francisco Art Institute (1996) and an MFA from the University of California, Los Angeles (2006). He has had solo exhibitions at LAX ART, Los Angeles (2015); Nicelle Beauchene Gallery, New York City (2014); MUCA ROMA, Mexico City (2006); Queen’s Nails Annex, San Francisco (2005) and Pennsylvania Academy of Fine Art, Philadelphia (2005). His work has been included in group shows at the Yerba Buena Center for the Arts, San Francisco; the Los Angeles County Museum of Art; the Museo Rufino Tamayo, Mexico City; Prospect 3, New Orleans; the Perez Art Museum, Miami, and Deitch Projects, New York. Ore-Giron has lived in Peru, Mexico and the Southwest of the United States, which has informed his visual vocabulary.

Tochtli’s Vision, 2011
Video collage

Baltazar_Tochtli’s VisionRaul Baltazar (born 1972 in Los Angeles) is an artist who works as a “medium” between Mesoamerican and Western culture, at once part of both worlds, able to act as mimetic mirror for both. Through trans-disciplinary practice including performance, video, photography, painting, murals and community-based projects, Baltazar considers the revolutionary challenge of Mesoamerican Indigenous communities in the context of Los Angeles. His work pursues a cathartic response to the trauma the body endures when experiencing and rationalizing abuse of power and authority by means of sanctioned and unsanctioned reiterations of violence. By participating in the creation of contemporary culture rooted in ancient culture, his work opens a space for healing, communication and reflection. Ritual interventions, mimicry, and storytelling are methodologies the artist employs engage the public in order to communicate on a self-reflexive level.

Baltazar received his MFA in Public Practice from Otis College of Art and Design in 2013, and his BFA in Sculpture and New Genres from Otis College of Art and Design in 2009. He has participated in numerous public art projects, spanning interventions, community-building endeavours, and murals. He has exhibited extensively in Los Angeles and Mexico, and is a 2015 recipient of the California Community Foundation Fellowship for Visual Arts.


A Brief History of Architecture in Guatemala, 2010-2013
Video documentation of performance

Naufus_Breve_Historia_de_la_Arquitectura_en_GuatemalaNaufus Ramírez-Figueroa holds a BFA from Emily Carr University, an MFA from the School of the Art Institute of Chicago, and was a post-graduate researcher at Jan Van Eyck Academie in 2013. The Guatemalan civil war (1960-96) is a recurring subject in his work, which although often softened by an absurd and humorous approach, fails to conceal the force of history that precedes it.

Ramírez-Figueroa has participated in various solo and group exhibitions including Rendez-Vous at the 13th Lyon Biennale; the 53rd Internationale Kurzfilmtage Oberhausen; Home Works IV (Ashkal Alwan, Beirut, Lebanon), Illy Present Future 2013 (Castello di Rivoli, Italy), A History of Interventions (Tate Modern, UK), Beber y Leer El Arcoiris (Casa América, Madrid) and in 2014 created a new installation of sculptures for the 10th Gwangju Biennale.

He is a recipient of a Guggenheim fellowship, a Franklin Furnace award, and an Akademie Schloss Solitude fellowship, and this year won the ARCP Comunididad de Madrid for young artists at ARCO 2015. Future projects include a residency at DAAD (Berlin, Germany), a solo exhibition at Gasworks (London, UK), and commissions for new performances from the Tate Modern and If I Can’t Dance I Don’t Want to be a Part of Your Revolution (Amsterdam, NL). Ramirez-Figueroa lives and works in Guatemala City, Guatemala.

Journey to a land otherwise known, HD 2K, 22 minutes, 2011
© Laura Huertas Millán – Le Fresnoy

Huertas Millan_journeyLaura Huertas Millán is an artist and filmmaker living and working between France, Colombia and the United States. A graduate from the Ecole Nationale des Beaux-Arts de Paris and Le Fresnoy, she is currently a PhD candidate at the Ecole Normale Superieure rue d´Ulm and the Beaux-Arts de Paris (France), where she is developing a practise-based film research on “ethnographic fictions”. Since 2014, she is also a fellow at the Sensory ethnography lab and the Film Study Center at Harvard University. Infused with the real, her films engage with human experience and encounters with cultural and natural alterities. By staging personal affects linked to collective History, her narratives address issues as desire and exoticism, racism and pre-colonial memory and seek out, through hybrid forms, a place where to stand, aesthetically and politically, in the current massive field of representations. Her works have screened internationally in contemporary art venues and cinema festivals such as the Guggenheim Museum (New York, US), FIDMarseille (France), Palais de Tokyo (Paris, France), Museo de arte Moderno de Buenos Aires (Argentina), LABORAL Gijón (Spain), Lugar a Dudas (Cali, Colombia), Galerie Edouard Manet (Gennevilliers, France), Curtas Vila do Conde (Portugal), FICUNAM (Mexico), among others. Solo exhibitions include la Villa Arson (Nice, France), Metales pesados (Chile) and Annecy Castle Museum (France). She has been awarded grants in support of her work from the City of Paris, the Colombian Film Development Fund, Harvard’s Film Study Center, and prizes from Videobrasil festival (Resartis residency prize) and the Moving Image Biennial in Argentina (Special jury mention).


La Estrategia, 2012
HD Video

Argote_LaEstrategiaIvan Argote is Colombian artist who lives and works in Paris, Argote (31) deals with the way that man relates with the myriad changes that take place daily in the historical, economic, political and moral realms. His aim is to question the role of subjectivity in the revision of these concepts. Argote involves the body, and emotions in the construction of his thinking, and develops methods to generate reflexion about the way we construct certainty in relation with politics and history. By creating interventions and performances for the public space, which are sometimes further developed in the format of films and installations, the artist explores the city as a space of transformation.

His works has been shown in several cities all around the world, including: Intersections, Cisneros Fountanals Foundation, Miami, 2015; Between the Pessimism of the Intellect and the Optimism of the Will, 5th Thessaloniki Biennale, Thessaloniki, 2015; Levitate, Museum Quartier, Vienna, 2015; L’éloge de l’heure, MUDAC, Lausanne, 2015; Reddish Blue (solo), DT Project, Brussels, 2014; Let’s write a history of hopes (solo), Galeria Vermelho, Sao Paulo, 2014; Strengthlessness(solo), Galerie Perrotin, Paris, 2014; La Estrategia (solo), Palais de Tokyo, Paris (2013); Un millon de amigos (solo), Galeria ADN, Barcelona (2013); Tectonic, Moving Museum, Dubai (2013); Los irrespetuosos, Museo Carrilo Gil, México DF (2013); 30th Sao Paulo Biennial, Sao Paulo (2012); Sin heroísmos, por favor (solo), CA2M, Madrid (2012); Girarse, Joan Miró Fundation, Barcelona (2012), among others.

Traveling Dust, 2014


Travelling DustJavier Tapia (born in Chile, 1976) is a visual artist that lives and works in Copenhagen, Denmark. His work can be described as a chain of events in continuous expansion. Some aspects of the work comments on problems associated with geo-politics and the function of art in the local and global culture, specifically, the influence of the colonial history, where his identity and background as a Chilean play a central role. Recent projects include An Archeology of Motivations in Los Angeles (2012), Solid Liquids in Istanbul (2013) and Color Fields at Experimentarium Museum (2012), which was awarded the PaNIK Prize of Art. Tapia has also participated in the Berlin Biennale (2012), the 9th Istanbul Biennale (2005), Art Brussels (2009), ALT CPH (2010), Charlottenborg Kunsthalle -Afgang (2010), and Nikolaj Kunsthalle (2013) in Copenhagen.


Camilo Ontiveros (born in Mexico, 1978) Camilo Ontiveros is an artist based in Los Angeles.  Originally from Rosario, Sinaloa, Mexico, he migrated to California in 1993.   His projects focus on the subject of migration and work at the intersection of systems of art, law, and politics.  Some examples of his work include 2000 Pounds of Metal, where he intervened in the informal economy of scrap metal collectors in Los Angeles, Free Entry, where he interrogated the racial profiling of S.B.1070 and proposed that the museum allow all who were being profiled by this law to enter the museum for free, and El Pedon, where he cut one square meter of soil from Tepic, Nayarit, Mexico, and asked the museum to deal with the United States Department of Agricultural in order to bring the soil into the country for an exhibition.   While the latter two projects were not technically realized, Ontiveros engaged in a form of institutional collaboration, where he asked the institution to participate in the economic, political, and legal processes that would result in the realization of the work.   He received his BFA in Art in 2006 from the University of California, San Diego and his MFA in Art in 2009 from the University of California, Los Angeles.  He is the co-owner of New Electronic World Security, a family-run company based in Orange County.


Tiempo Circular, 2013
Video Still

Candiani_tiempo circularbnTania Candiani (Mexico City, 1974) is a Tijuana and Mexico City-based visual artist. With extensive experience in Mexico and internationally, Candiani is interested in the complex intersection between language systems, sound, and logics of technology. There is some nostalgia for the obsolete in her work, which seeks to make explicit both the discursive content of artifacts, and projections for the future envisioned in the past. Her translation processes between sound, words, patterns, and machines create discursive associations and reveal logics of thinking. Some of her early works took advantage of the language of embroidery to challenge stereotypical images of gender (Gordas, 2002), subverting notions of power within the private and public spheres (Kaunas Graffiti, 2009), or to rekindle what seemed to be lifeless or submissive (La Constancia dormida, 2006). Likewise, her work with embroidery proposes a new insight into the architectural representation of space (From Floor Plans to Confection Patterns: Apartment Houses in New York City, 1900–1914, 2010). As such, her work established a relationship with architecture that would have consequences later in her career.

The use of embroidery as a language also intersects with the production of narratives (Tales and Other Nightmares,2009); the thread materializes the existence and the power of the line as containment of meaning, generating shapes and functioning as symbols transformed into text, allowing a multiplicity of meanings to occur between the image and the word. Written language from its minimum particles to literary narrative, as well as its oral tradition (Refranes, 2008; Otros paseos. Otras historias, 2010), has been the starting point for many projects during her career. Candiani started exploring the possibilities of technology enabling her to continue her research on time (Plataforma Sonora,2012), embroidery, sound (Sobre el Tiempo, 2008), and narrative (Leer de corrido, 2010). In recent years, she has collaborated with interdisciplinary working groups (Five variations on phonic circumstances and a pause, 2012). Her projects are focused on promoting links between the history of science, empirical observation techniques, and technological utopias (Serendipia, 2013 and Atlas, 2015), based on the reinterpretation and recreation of forgotten ideas in order to rethink the moment of invention (Máquina para volar, Besnier 1673, 2015), as well as obsolete artefacts and the restoration of professions to understand the organization of thought as inventive discourse.

In 2015, Candiani represented Mexico in the Venice Biennial. Solo projects include: Five variations on phonic circumstances and a pause, Laboratorio Arte Alameda, Mexico City (2012) and Kiblix IT Linux Festival, Máribor, Slovenia (2014); Serendipia, Artium, Centro Museo Vasco de Arte Contemporáneo, Vitoria-Gasteiz, Spain (2013); La Magdalena y otros estudios de campo, Casa del Lago, Mexico City (2013) and Museo de la Ciudad, Querétaro, México (2014); Tania Candiani: From Floor Plans to Confection Patterns: Apartment Houses in New York City, 1900–1914, Abrons Arts Center, New York, USA (2010). Her work has also been included in several group exhibitions such as: La gravedad de los asuntos, Laboratorio Arte Alameda, Mexico City (2015) and Polytechnic Museum, Moscow, Russia (2015); Sights and Sounds: Global Film and Video, The Jewish Museum, New York, USA (2015); The Future of Fashion is Now, Museum Boijmans Van Beuningen, Rotterdam, Netherlands (2014); Prix Ars Electronica, CyberArts Exhibition, OÖ Kulturquartier, Linz, Austria (2013); XI Bienal de Cuenca, Museo de Arte Moderno, Ecuador (2011); Vivienda social y autoconstrucción,Museo de Arte Moderno, Mexico City (2011); Espectrografías. Memorias e historia, Museo Universitario de Arte Contemporáneo, Mexico City (2010); Textile 07/Textile 09, Kaunas Biennial, Lithuania (2007 and 2009); XI Cairo Biennial,Palace of Arts, Cairo, Egypt (2008); Transactions: Contemporary Latin American and Latino Art, Museum of Contemporary Art San Diego, USA (2006); Tijuana Sessions, Sala de Exposiciones, Alcalá 31, ARCO 05, Madrid, Spain (2005); IX Salón Bancomer,Museo de Arte Moderno, Mexico City (2004). In 2011, Candiani received a Guggenheim Fellowship and in 2013, the Award of Distinction by the Prix Ars Electronica, in the category of Hybrid Arts. Since 2012 she has been a member of the National System of Art Creators, Mexico. She has participated in several artist-in-residence programs including in Poland, United Kingdom, Austria, USA, Colombia, Russia, Spain, Argentina, Slovenia, Japan, Egypt, and Lithuania.