https://joaquinsegura.net Joaquin Segura Mon, 26 Aug 2019 22:58:08 +0000 https://joaquinsegura.net en https://joaquinsegura.net/Front-Page Mon, 26 Aug 2019 18:50:30 +0000 Joaquin Segura https://joaquinsegura.net/Front-Page (Mexico City, 1980) Joaquin Segura’s artistic practice meditates on the phenomenology of history, power and truth, as well as on notions such as&nbsp;crisis and contemporaneity, objecthood, sociopolitical microclimates, asymmetrical history and ideology in the contemporary world. Some of the most relevant concerns in his recent production revolve around the nature of power and its self-regulating mechanisms and the ontological significance of dissent and failure, with a particular emphasis on its materiality. Active since the early 2000s, his work has been shown in solo and group exhibitions in the Americas, Europe, and Asia.&nbsp; https://joaquinsegura.net/Front-Page-ESP Mon, 26 Aug 2019 22:58:08 +0000 Joaquin Segura https://joaquinsegura.net/Front-Page-ESP (Ciudad de México, 1980) Disculpas.Sitio en construcción.&nbsp; https://joaquinsegura.net/About Mon, 26 Aug 2019 21:38:18 +0000 Joaquin Segura https://joaquinsegura.net/About Download PDF Eng/Esp (30 kb) Visual artist. Lives and works in Mexico City. His action, installation, intervention and photographic work has been shown in solo and group exhibitions in Mexico, USA, Europe and Asia. Some spaces that have featured his work include Sala de Arte Público Siqueiros, Museo de Arte Carrillo Gil, La Panaderia and Museo Tamayo Arte Contemporáneo in Mexico City, along with El Museo del Barrio, Anthology Film Archives, White Box and apexart (New York, NY), LA&gt;&lt;ART, MoLAA (Los Angeles, CA) Museo Nacional Centro de Arte Reina Sofia (Madrid, Spain), National Center for Contemporary Art (Moscow, Russia), the Modern Art Museum of Fort Worth, TX, the Museum of Contemporary Art of Denver, CO and the National Gallery of Victoria (Melbourne, Australia). His work has been widely reviewed &amp; featured in local and international art publications &amp; major newspapers such as Artforum, Flash Art, Adbusters, Art Papers, Código, Art Nexus, Discipline, Celeste, El País &amp; PBS NewsHour, among many others. In 2008/09, Segura was an artist-in-residence at the International Studio &amp; Curatorial Program (New York, NY) and at the 18th Street Arts Center (Santa Monica, CA). Between 2012 and 2021, he undertook artistic residencies and research stays at Hangar –Centre de Producció i Recerca d‘Arts Visuals (Barcelona, Spain), MeetFactory – International Center of Contemporary Art (Prague, Czech Republic), Impakt Foundation (Utrecht, Netherlands), Casa Wabi (Oaxaca, Mexico), Seoul Art Space_Geumcheon (Seoul, South Korea) and the Bemis Center for Contemporary Arts (Omaha, NE). In 2018, he’s appointed as a fellow to the National System of Artistic Creators /FONCA (Mexico). In 2023, Segura is scheduled to participate in artistic residencies at the Alumni Program in ISCP (New York, NY) and Fountainhead (Miami, FL). He’s a founding member and board advisor of SOMA, Mexico City, and currently serves at the Board of&nbsp; Directors at the Bemis Center for Contemporary Arts, Omaha, NE. &nbsp; somamexico.org bemiscenter.org https://joaquinsegura.net/CV Mon, 26 Aug 2019 20:56:14 +0000 Joaquin Segura https://joaquinsegura.net/CV Download PDF (187 kb) (Mexico City, 1980) Lives and works in Mexico City, Mexico. Represented by Pequod Co. (Mexico City) EDUCATION 2004 &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; Curatorial Studies Program.&nbsp; Teratoma / CANAIA. Mexico City, Mexico. 1999– 2004 &nbsp;&nbsp; BA in Communication | Film &amp; Video. Universidad Iberoamericana, Campus Sta. Fe. Mexico City, Mexico. 1998- 2003&nbsp; &nbsp; Photography / Alternative Media. Centro de la Imagen. Mexico City, Mexico. SOLO EXHIBITIONS 2023&nbsp; Éminence Grise. Pequod Co. Mexico City, Mexico. 2022&nbsp; El sonido del mundo al caer. Museo de la Ciudad de Querétaro. Queretaro, Mexico. 2018&nbsp; Pyre. Cushion Works. San Francisco, CA. USA. 2017&nbsp; Nueva narrativa metropolitana. Artere-a. Guadalajara, Mexico. 2016&nbsp; Such a War as is of Every Man Against Every Man. La Ene. Buenos Aires, Argentina. &nbsp; &nbsp; &nbsp; Whereof One Cannot Speak, Thereof One Must Be Silent. Alkovi/Ingredients. Helsinki, Finland. &nbsp; &nbsp; &nbsp; The World is the Totality of Facts, Not of Things. Nueva Vitrina / Exconvento del Carmen. Guadalajara, Mexico. 2015&nbsp; The Tradition of All Dead Generations. Ex Teresa Arte Actual. Mexico City, Mexico. &nbsp; &nbsp; &nbsp; Batiente 0.8: ¿What hath God wrought? Casa del Lago. Mexico City, Mexico. 2014&nbsp; State of Exception. Espacio Mínimo. Madrid, Spain. 2013&nbsp; A Glimpse of all Things Gone Wrong. Kostka Gallery. Prague, Czech Republic. 2012&nbsp; A Brief History of Breakdown. Yautepec Gallery. Mexico City, Mexico. 2011&nbsp; Poetics of Dishonor. Sala de Arte Público Siqueiros. Mexico City, Mexico. 2010&nbsp; Deceive, Inveigle &amp; Obfuscate. Yautepec Gallery. Mexico City, Mexico. 2009&nbsp; Your False Rebellions Mean Nothing. Arena México Arte Contemporáneo. Guadalajara, Mexico. &nbsp; &nbsp; &nbsp; Botched Messiah. LArVa. Guadalajara, Mexico. 2008&nbsp; Botched Messiah. Ex-Convento Dieguino | 36° Festival Internacional Cervantino. Guanajuato, Mexico. 2007&nbsp; Feelings. Trolebus/Galería. Mexico City, Mexico. 2005&nbsp; Acapulco Golden. O-Lamm. Mexico City, Mexico. DUO EXHIBITIONS 2022&nbsp; Self-Sufficiency: Exercise on Balance #2 (collaboration with Javier Barrios).&nbsp; Museo de la Ciudad de Querétaro. Queretaro, Mexico. 2018&nbsp; Theatre of Operations (collaboration with Enrique Ježik). Galería Hilario Galguera. Mexico City, Mexico. 2017&nbsp; Repertoires of Contention (collaboration with Tony Garifalakis). Gertrude Contemporary. Melbourne, Australia. &nbsp; &nbsp; &nbsp; Tres golpes (collaboration with Javier Barrios). Fundación CALOSA. Irapuato, Mexico. 2012&nbsp; To Preserve Disorder (collaboration with Jesse Hlebo). Otras Obras. Tijuana, Mexico. 2005&nbsp; Recipes for Disaster (collaboration with Mauricio Limón). Arena México Arte Contemporáneo. Guadalajara, Mexico. GROUP EXHIBITIONS(selection) 2022&nbsp; 14° Havana Biennial | Regreso al porvenir. Centro Cultural Línea y 18. Havana, Cuba. &nbsp; &nbsp; &nbsp; Chroniques: résonances. SBC galerie d’art contemporain. Montréal, Canada.&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; XV Bienal de Pintura Rufino Tamayo. Museo Tamayo Arte Contemporáneo. Mexico City, Mexico. &nbsp; &nbsp; &nbsp; Ethos. Galería Elvira Moreno. Bogotá, Colombia. &nbsp; &nbsp; &nbsp; 2021&nbsp; We Change the World. The Ian Potter Centre: NGV Australia. Melbourne, Australia. 2020&nbsp; Colapso. MAM Chiloé. Chiloé, Chile. &nbsp; &nbsp; &nbsp; Exodus III: Mexico in New York - From Orozco to Orozco. WhiteBox. New York, NY. USA.&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; XV Bienal de Pintura Rufino Tamayo. Museo de Arte Contemporáneo de Oaxaca. Oaxaca, Mexico. 2019&nbsp; Generation W(ar). Torrance Museum of Art. Los Angeles, CA. USA. &nbsp; &nbsp; &nbsp; Signs Taken for Wonders. Jonas Mekas Visual Arts Center. Vilnius, Lithuania. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; La emancipación de la disonancia. Istituto Cervantes Roma. Rome, Italy. | Gran Canaria Espacio Digital. Las Palmas, Spain. &nbsp; &nbsp; &nbsp; The Cure of Folly. Galleria Contempo. Trento, Italy 2018&nbsp; Gangwon International Biennale 2018: The Dictionary of Evil. Gangwon, South Korea. &nbsp; &nbsp; &nbsp; White Anxieties. WhiteBox. New York, NY. USA &nbsp; &nbsp; &nbsp; Postrauma. Sala Gasco Arte Contemporáneo. Santiago, Chile. &nbsp; &nbsp; &nbsp; Nacido en casa. Devenires y porvenires del oficio de la tapicería Alto Liso en Jalisco, 1968-2018. Museo Amparo. Puebla, Mexico. &nbsp; &nbsp; &nbsp; Utopía y Deriva: relatos en tránsito. Centro de Arte Bernardo Quintana. Queretaro, Mexico. 2017&nbsp; a revolution from my bed. Young Artist Project ‘17 / EXCO. Daegu, South Korea. &nbsp; &nbsp; &nbsp; Old Glory. Mulherin New York. New York, NY. USA. &nbsp; &nbsp; &nbsp; La Náusea. Museo de Arte de Zapopan. Guadalajara, Mexico. &nbsp; &nbsp; &nbsp; Structural Disparities. Seoul Art Space_Geumcheon. Seoul, South Korea. &nbsp; &nbsp; &nbsp; Thin Air. Galeria Emma Molina. Monterrey, Mexico. 2016&nbsp; Shut Up and Paint | NGV Collection. National Gallery of Victoria. Melbourne, Australia. &nbsp; &nbsp; &nbsp; Acts of Sedition. WhiteBox. New York, NY. USA. &nbsp; &nbsp; &nbsp; Resonancias desde el Jardín de las delicias. Museo de Arte Carrillo Gil. Mexico City, Mexico. &nbsp; &nbsp; &nbsp; #MakeAmericaGreatAgain. WhiteBox. New York, NY. USA. &nbsp; &nbsp; &nbsp; DIY Fiction. Espacio de Arte Careyes / Careyes Foundation. Careyes, Mexico. &nbsp; &nbsp; &nbsp; A Certain Urge (Towards Turmoil). EFA Project Space. New York, NY. USA. &nbsp; &nbsp; &nbsp; Beyond The Tropics. Museu d’Història de Catalunya. Barcelona, Spain / Teatrin 2 Ferala. Bol, Croatia / &nbsp; &nbsp; &nbsp; Centro Cultural de España. Mexico City, Mexico / Centro Cultural de España. San Jose, Costa Rica. &nbsp; &nbsp; &nbsp; The Enemy Within. Área / Lugar de Proyectos. Caguas, Puerto Rico. &nbsp; &nbsp; &nbsp; Punk Povera. WUHO. Los Angeles, CA. USA. &nbsp; &nbsp; &nbsp; Nosotros ya no somos los mismos (Seres de luz del trabajo inmaterial). Centro Cultural Matucana 100. Santiago, Chile / &nbsp; &nbsp; &nbsp; Museo de Arte de Zapopan. Guadalajara, Mexico. &nbsp; &nbsp; &nbsp; Políticas del polvo. Galeria Emma Molina. Monterrey, Mexico. &nbsp; &nbsp; &nbsp; Kozmic Blues: Entre control/descontrol. Complejo Cultural Universitario BUAP. Puebla, Mexico. &nbsp; &nbsp; &nbsp; Ser Sensible. La Quiñonera. Mexico City, Mexico. &nbsp; &nbsp; &nbsp; Pintura. Artere-a. Guadalajara, Mexico. 2015&nbsp; Now? NOW! / Biennial of the Americas 2015. Museum of Contemporary Art Denver. Denver, CO. USA. &nbsp; &nbsp; &nbsp; There Is Only One Catch And That Is Catch 22. Y Gallery. New York, NY. USA. &nbsp; &nbsp; &nbsp; Paisatges: L’estigma d’allò social. Palmadotze. Barcelona, Spain. &nbsp; &nbsp; &nbsp; Beyond The Tropics. Università IUAV di Venezia / Palazzo Ca’ Tron. Venice, Italy. &nbsp; &nbsp; &nbsp; Bienal de las Fronteras: Límites Nómadas. Museo de Arte Contemporáneo de Tamaulipas. Matamoros, Mexico. &nbsp; &nbsp; &nbsp; 1a Bienal Nacional del Paisaje. Museo de Arte Carrillo Gil. Mexico City, Mexico. &nbsp; &nbsp; &nbsp; Self-Organized — Aesthetics Politics of the Artist Run. Guest Spot @ The Reinstitute. Baltimore, MD. USA. &nbsp; &nbsp; &nbsp; Motley Mexico. De Balie. Amsterdam, The Netherlands. &nbsp; &nbsp; &nbsp; Reactivación. Object Not Found. Monterrey, Mexico. 2014&nbsp; Micro-acciones de emergencia #2. ADN Platform. Barcelona, Spain. &nbsp; &nbsp; &nbsp; IX Bienal Nicaragüense de Artes Visuales. Fundación Ortiz-Gurdián. Managua, Nicaragua. &nbsp; &nbsp; &nbsp; The Lady with the X-ray Eyes. Varna City Art Gallery. Varna, Bulgaria. &nbsp; &nbsp; &nbsp; Les Rencontres Internationales in Berlin. Haus der Kulturen der Welt. Berlin, Germany. &nbsp; &nbsp; &nbsp; 1a Bienal Nacional del Paisaje. MUSAS - Museo de Arte de Sonora. Hermosillo, Mexico. &nbsp; &nbsp; &nbsp; Delirios de Declive. Curro &amp; Poncho. Guadalajara, Mexico. &nbsp; &nbsp; &nbsp; Èdra: Connecting Landscapes. Istituto Polacco di Roma / Ambasciata del Messico. Rome, Italy. &nbsp; &nbsp; &nbsp; Visible Invisibilización: Aproximaciones en torno a la violencia. Museo de Arte Contemporáneo Alfredo Zalce . Morelia, Mexico. 2013&nbsp; Mexico: Inside Out.&nbsp; Modern Art Museum of Fort Worth. Fort Worth, TX. USA. &nbsp; &nbsp; &nbsp; South of the Border. Anthology Film Archives. New York, NY. USA. &nbsp; &nbsp; &nbsp; The Name, The Nose. Museolaboratorio | Ex Manifattura Tabacchi. Città Sant’Angelo, Pescara. Italy. &nbsp; &nbsp; &nbsp; X Bienal Monterrey FEMSA.&nbsp; Antiguo Colegio de San Ildefonso. Mexico City, Mexico. &nbsp; &nbsp; &nbsp; Trama y urdimbre.&nbsp; Museo de Arte Raúl Anguiano. Guadalajara, Mexico. &nbsp; &nbsp; &nbsp; Visible Invisibilización: Aproximaciones en torno a la violencia. Museo de la Ciudad. Queretaro, Mexico. 2012&nbsp; XV Bienal de Pintura Rufino Tamayo. Museo Tamayo Arte Contemporaneo. Mexico City, Mexico. &nbsp; &nbsp; &nbsp; Crisis Complex. Tin Sheds Gallery. Sydney, Australia. &nbsp; &nbsp; &nbsp; Wherever you roam. MoLAA. Long Beach, CA.&nbsp; USA. &nbsp; &nbsp; &nbsp; Celebrity Skin. White Box Contemporary. San Diego, CA. USA. &nbsp; &nbsp; &nbsp; Still Lifes: Invitation to a beheading. Diablo Rosso. Panama City, Panama. &nbsp; &nbsp; &nbsp; X Bienal Monterrey FEMSA. MARCO. Monterrey, Mexico. &nbsp; &nbsp; &nbsp; Body Snatchers. WhiteBox. New York, NY. USA. &nbsp; &nbsp; &nbsp; La Quebradora. Mission Cultural Center for Latino Arts. San Francisco, CA. USA. &nbsp; &nbsp; &nbsp; The revelation of what has already been destroyed. Object Not Found. Monterrey, Mexico. &nbsp; &nbsp; &nbsp; Take S. Centro de Artes de Sines. Sines, Portugal. &nbsp; &nbsp; &nbsp; West is more. Upstairs at the Market Gallery. Los Angeles, CA. USA. &nbsp; &nbsp; &nbsp; Oído Enfático. La Quiñonera. Mexico City, Mexico. &nbsp; &nbsp; &nbsp; DFSAKJLÑAS:)DHKFLAJDHS. Trama Centro. Guadalajara, Mexico. &nbsp; &nbsp; &nbsp; Under the volcano. Andromeda Contemporáneo. San Jose, Costa Rica. 2011&nbsp; XV Bienal de Pintura Rufino Tamayo. Museo de Arte Contemporáneo de Oaxaca. Oaxaca, Mexico. &nbsp; &nbsp; &nbsp; How to philosophize with a hammer. WhiteBox. New York, NY. USA. &nbsp; &nbsp; &nbsp; Four minutes, Thirty-three seconds. LegalArt. Miami, FL. USA. &nbsp; &nbsp; &nbsp; Alarma! Death be Kind. Melbourne, Australia. &nbsp; &nbsp; &nbsp; Everything must go. Casey Kaplan Gallery. New York, NY. USA. &nbsp; &nbsp; &nbsp; Cosmopolis. Pristine Galerie. Monterrey, Mexico. &nbsp; &nbsp; &nbsp; Círculos de Confusión: Caos social y Ficciones dominantes. Centro de la Imagen. Mexico City, Mexico. &nbsp; &nbsp; &nbsp; Endism. 24hrArt | Northern Territory Centre for Contemporary Art. Darwin, Australia. &nbsp; &nbsp; &nbsp; Fuerzas básicas: Formas del dibujo reciente en Jalisco. Museo de la Ciudad. Guadalajara, Mexico. &nbsp; &nbsp; &nbsp; Todo en mi cabeza está padrísimo. Piso 51. Mexico City, Mexico. &nbsp; &nbsp; &nbsp; V Bienal Nacional de Artes Visuales de Yucatan. Centro de Artes Visuales. Merida, Mexico. &nbsp; &nbsp; &nbsp; Sobre ética y obscenidad. La Quiñonera. Mexico City, Mexico. 2010&nbsp; The road to hell is paved... Las Cienegas Projects. Los Angeles, CA. USA. &nbsp; &nbsp; &nbsp; Efecto Drácula. Museo Universitario del Chopo. Mexico City, Mexico. &nbsp; &nbsp; &nbsp; Chewbacca to Zapata: Revisiting the myth of the Mexican Revolution. Morono Kiang Gallery. Los Angeles, CA. USA. &nbsp; &nbsp; &nbsp; Indian Summer. Arena Mexico Arte Contemporáneo. Guadalajara, Mexico. &nbsp; &nbsp; &nbsp; Crossing Boundaries|Qui Vive? II Moscow International Biennale for Young Art. Winzavod Centre for Contemporary Art. Moscow, Russia. &nbsp; &nbsp; &nbsp; Nice &amp; FUBAR. Jaus. Los Angeles, CA. USA. &nbsp; &nbsp; &nbsp; Carry on or Stow away. Gambia Castle. Auckland, New Zealand. &nbsp; &nbsp; &nbsp; The Billboard Project. Portugal Arte 10. Lisbon, Portugal. &nbsp; &nbsp; &nbsp; Omega. Margaret Lawrence Gallery. Melbourne, Australia. &nbsp; &nbsp; &nbsp; Bad Moon Rising 5. UKS. Oslo, Norway. &nbsp; &nbsp; &nbsp; Creative Tensions. NCCA Yekaterinburg. Yekaterinburg, Russia. &nbsp; &nbsp; &nbsp; (Ready)Media: Hacia una arquelogía de los medios y la invención en México. Laboratorio Arte Alameda. Mexico City, Mexico. &nbsp; &nbsp; &nbsp; Mexicali Biennial 09/10. Ben Maltz Gallery at Otis College of Art &amp; Design. Los Angeles, CA. USA. &nbsp; &nbsp; &nbsp; Environments | Videolab. Pátio da Inquisição. Coimbra, Portugal. &nbsp; &nbsp; &nbsp; Artemergente Bienal Nacional Monterrey 2010.&nbsp; Centro de las Artes | Nave Generadores. Monterrey, Mexico. &nbsp; &nbsp; &nbsp; Creación en Movimiento: Jóvenes Creadores 2009-2010. Casa de Cultura de Morelia. Morelia, Mexico. &nbsp; &nbsp; &nbsp; Marea de Nudos: Tapices contemporáneos del Taller Mexicano de Gobelinos. Galería Jesús Gallardo. Leon, Mexico. 2009&nbsp; The Man who fell to Earth. 798 Beijing Biennale 2009. T Art Center. Beijing, China. &nbsp; &nbsp; &nbsp; Asesinos. Live with Animals. Brooklyn, NY. USA. &nbsp; &nbsp; &nbsp; Names and Places. Firstdraft. Sidney, Australia. &nbsp; &nbsp; &nbsp; Last Day of Magic @ Markers VII | 53rd Venice Biennial. ScalaMata Gallery. Venice, Italy. &nbsp; &nbsp; &nbsp; I can’t get no satisfaction: Contemporary views on the everyday. apexart. New York, NY. USA. &nbsp; &nbsp; &nbsp; Bad Moon Rising 3. Boots Contemporary Art Space. St. Louis, MO. USA. &nbsp; &nbsp; &nbsp; Hacia/Desde Mexico DF. Instituto Cervantes de París. Paris, France. 2008&nbsp; VIBA. ThisIsNotAGallery. Buenos Aires, Argentina. &nbsp; &nbsp; &nbsp; The use of video in a WC. Gato Vadio. Porto, Portugal. &nbsp; &nbsp; &nbsp; Hacia/Desde Mexico DF. Spanska Kulturinstitutet Stockholm. Stockholm, Sweden. &nbsp; &nbsp; &nbsp; ID-entity. Transformer/Mexican Cultural Institute. Washington, DC. USA. &nbsp; &nbsp; &nbsp; Intransit. Moti Hasson. New York, NY. USA. &nbsp; &nbsp; &nbsp; Pro Eto | Qui Vive? I Moscow International Biennale for Young Art. National Centre for Contemporary Art. Moscow, Russia. &nbsp; &nbsp; &nbsp; Is an artist allowed to do anything? Dom Umenia/Display. Bratislava, Slovakia. &nbsp; &nbsp; &nbsp; Videolab Caldas 2008. Centro da Juventude. Caldas de Rainha, Portugal. 2007&nbsp; Fissures: Works on video from Mexico. Museo del Barrio. New York, NY. USA. &nbsp; &nbsp; &nbsp; Return of the Art Dead. Eastern Alliance/NoD Roxy. Prague, Czech Republic. &nbsp; &nbsp; &nbsp; Separation Perfected. National Center for Contemporary Art. Moscow, Russia. &nbsp; &nbsp; &nbsp; Videolab Lagos 2007. Laboratório de Artes Criativas/Área 55. Lagos, Portugal. &nbsp; &nbsp; &nbsp; Segundo Ciclo de Videoarte Latinoamericano. Institut Valencià d’Art Modern. Valencia, Spain. &nbsp; &nbsp; &nbsp; [PAM] Videobox @ We are your future. 2 Moscow Biennale of Contemporary Art. Winzavod Art Center. Moscow, Russia. / &nbsp; &nbsp; &nbsp; WhiteBox. New York, NY. USA. &nbsp; &nbsp; &nbsp; Ultramar. Instituto Cervantes. Brasilia, Brazil. &nbsp; &nbsp; &nbsp; Luz y Fuerza del Centro. Charro Negro Galería. Guadalajara, Mexico.. &nbsp; &nbsp; &nbsp; Lo que mueve al mundo es la fuerza de gravedad. Casa Las Monas. Leon, Mexico. 2006&nbsp; Distor. Museo de Arte Carrillo Gil. Mexico City, Mexico. &nbsp; &nbsp; &nbsp; Primer Ciclo de Videoarte Latinoamericano. Institut Valencià d’Art Modern. Valencia, Spain. &nbsp; &nbsp; &nbsp; Eastern Alliance: Teledivision. MNAC. Bucharest, Romania / KSA:K. Chisinau, Moldova. &nbsp; &nbsp; &nbsp; Próximamente... Museo de Arte Carrillo Gil. Mexico City, Mexico. &nbsp; &nbsp; &nbsp; video_dumbo: Mexico. D.U.M.B.O. Arts Center. Brooklyn, NY. USA. &nbsp; &nbsp; &nbsp; Les Rencontres Internationales Paris/Berlin. Cinéma l’Entrepôt. Paris, France. &nbsp; &nbsp; &nbsp; Coup. Weiss Pollack Gallery. New York, NY. USA. &nbsp; &nbsp; &nbsp; Hysterical Horror: Experimental video from Mexico City. UnionDocs. Brooklyn, NY. USA. &nbsp; &nbsp; &nbsp; Perpetual Art Machine. Scope New York. New York, NY. USA / Scope Hamptons. Wainscott, NY. USA. 2005&nbsp; Declaraciones. Museo Nacional Centro de Arte Reina Sofía. Madrid, Spain. &nbsp; &nbsp; &nbsp; Fear in the City: Prague Underground. Palace Adria. Prague, Czech Republic. &nbsp; &nbsp; &nbsp; Free Trade. Outpost for Contemporary Art. Los Angeles, CA. USA. &nbsp; &nbsp; &nbsp; Norteamericanos de tercera... Sudacas de primera. The Art Palace. Madrid, Spain. &nbsp; &nbsp; &nbsp; The Momentary Seduction of Now. Scope Miami. TownHouse. Miami, FL. USA. &nbsp; &nbsp; &nbsp; Tan lejos, tan cerca: la Arena México en Monterrey. Arcaute Arte Contemporáneo. Monterrey, Mexico. &nbsp; &nbsp; &nbsp; We are nothing but the nerds they say we are. Sonora 180, Condesa. Mexico City, Mexico. &nbsp; &nbsp; &nbsp; México 70. Casa del Lago. Mexico City, Mexico. &nbsp; &nbsp; &nbsp; Retroactiva. Faro de Oriente. Mexico City, Mexico. &nbsp; &nbsp; &nbsp; Cheap &amp; Chic. O-Itatti. Mexico City, Mexico. 2004&nbsp; Bordermates Vacation: For the Giant Margarita. Sundown Salon / Fritz Haeg. Los Angeles, CA. USA. &nbsp; &nbsp; &nbsp; Abuso de conciencia. Ex Teresa Arte Actual. Mexico City, Mexico. &nbsp; &nbsp; &nbsp; MHN.03 recreaciones. Museo de Historia Natural. Mexico City, Mexico. &nbsp; &nbsp; &nbsp; They’re motherfuckers... don’t you know? Casa Frissac. Mexico City, Mexico. &nbsp; &nbsp; &nbsp; Escalera al cielo. Ex Teresa Arte Actual / Fundación Televisa. MACO México: Arte Contemporáneo. Mexico City, Mexico. &nbsp; &nbsp; &nbsp; Sábado #6.&nbsp; Bordermates / Revillagigedo 37. Mexico City, Mexico. &nbsp; &nbsp; &nbsp; Móvil: tiempo diferido. Ex Teresa Arte Actual. Mexico City, Mexico. &nbsp; &nbsp; &nbsp; Use your Illusion. Consejo Mexicano de Fotografia. Mexico City, Mexico. 2003&nbsp; Temps nòrdics vs acció mexicana. Panorama. Barcelona, Spain. &nbsp; &nbsp; &nbsp; Cámara. Museo de Arte Carrillo Gil. Mexico City, Mexico. &nbsp; &nbsp; &nbsp; Dadapsicodeli. Ex Teresa Arte Actual. Mexico City, Mexico. &nbsp; &nbsp; &nbsp; MHN.01 especímenes. Museo de Historia Natural. Mexico City, Mexico. &nbsp; &nbsp; &nbsp; MHN.02 modificaciones. Museo de Historia Natural. Mexico City, Mexico. &nbsp; &nbsp; &nbsp; El que se mueva no sale en la foto. Centro de la Imagen. Mexico City, Mexico. 2002&nbsp; El arte mexicano se viste de fiesta. La Panadería. Mexico City, Mexico. 2001&nbsp; Corriendo sin ver. Alianza Francesa Centro San Ángel. Mexico City, Mexico. 2000&nbsp; South of North. Fototeka. Los Angeles, CA. USA. GRANTS, PRIZES &amp; RESIDENCIES 2023&nbsp; Alumni Residency Program. International Studio and Curatorial Program. New York, NY, USA.&nbsp;[Upcoming, July-August 2023] &nbsp; &nbsp; &nbsp; Artist-in-Residence. Fountainhead. Miami, FL. USA.[Upcoming, September 2023] 2021&nbsp; Artist-in-Residence | Fall Session. Bemis Center for Contemporary Arts. Omaha, NE. USA. 2018&nbsp; Sistema Nacional de Creadores de Arte | Fellowship 2018-2021. FONCA, Mexico. 2017&nbsp; International Artist in Residence. Seoul Art Space_Geumcheon. Seoul, South Korea. 2015&nbsp; Artist-in-Residence Program. Casa Wabi. Puerto Escondido, Mexico. 2013&nbsp; FONCA/CONACYT International Artistic Residency Program.&nbsp; Meet Factory. Prague, Czech Republic. &nbsp; &nbsp; &nbsp; EMARE European Media Artists in Residency Exchange. Impakt Foundation. Utrecht, Netherlands. 2012&nbsp; International Artist-in-Residence Program | ADM.&nbsp; Hangar. Barcelona, Spain. 2011&nbsp; ONF Artist-in-Residence Program. Object Not Found/CONARTE. Monterrey, Mexico. 2010&nbsp; Artemergente Bienal Nacional Monterrey 2010. Acquisition prize. Monterrey, Mexico. &nbsp; &nbsp; &nbsp; JAiR Artist-in-Residence Program. Jaus. Los Angeles, CA. EUA. 2009&nbsp; International Artist in Residence | Fundación/Colección Jumex. 18th Street Arts Center. Santa Monica, CA. EUA. &nbsp; &nbsp; &nbsp; Jovenes Creadores | Fellowship 2009-2010. FONCA/CONACULTA, Mexico. 2008&nbsp; ISCP/ FONCA International Artistic Residency Program. International Studio and Curatorial Program. New York, NY. USA. 2006&nbsp; Production Grant Program | Fundación/Colección Jumex. Project in collaboration with Outpost for Contemporary Art. INSTITUTIONAL COLLECTIONS National Gallery of Victoria. Melbourne, Australia. KADIST. San Francisco, USA / Paris, France. Museo de Arte Moderno. Mexico City, Mexico. Fundación M. Mexico City, Mexico. Colección Ashida Cueto. Guadalajara, Mexico. Phillips/Yuyito. Mexico City, Mexico. Pinacoteca de Nuevo León. Monterrey, Mexico. CURATORIAL PROJECTS 2013-15&nbsp; &nbsp; Grit: Contemporary Mexican Video | An Arbitrary Selection 1996-2012. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; MeetFactory. Prague, Czech Republic; Goleb. Amsterdam, The Netherlands; ForumBox. Helsinki, Finland; Museo de Arte de &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Zapopan. Guadalajara, Mexico &amp; Casa de la Cultura de Nuevo León. Monterrey, Mexico. 2010 &nbsp; &nbsp;&nbsp; Indian Summer. Curatorial collaboration with Jaime Ashida for Arena México Arte Contemporáneo. Guadalajara, Mexico. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Untitled (Latin America). Curatorial project for Arena México Arte Contemporáneo. Pinta London. London, UK. 2006 &nbsp; &nbsp;&nbsp; Fire in the Taco Bell. Curatorial collaboration for Outpost for Contemporary Art. G727. Los Angeles, CA. USA. 2004 &nbsp; &nbsp;&nbsp; They’re motherfuckers... don’t you know? Curatorial collaboration with Mauricio Limón. Casa Frissac. Mexico City, Mexico.&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; MHN.03 recreaciones. Curatorial collaboration with Mauricio Limón. Museo de Historia Natural. Mexico City, Mexico.&nbsp; &nbsp; &nbsp; &nbsp; 2003 &nbsp; &nbsp;&nbsp; MHN.02 modificaciones. Curatorial collaboration with Mauricio Limón / Martí Manen. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Museo de Historia Natural. Mexico City, Mexico. OTHER ACTIVITIES 2022 - Ongoing &nbsp;&nbsp; Bemis Center for Contemporary Arts. Board of Directors. Omaha, NE. USA. 2016 - 2022 &nbsp; &nbsp;&nbsp; &nbsp;SOMA Mexico. Academic Board. Mexico City, Mexico. 2009 - Ongoing&nbsp; &nbsp; SOMA Mexico. Founding member | Artist Board. Mexico City, Mexico. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; APT Mexico City. Trust Artist. Mexico City, Mexico. PUBLICATIONS &amp; REVIEWS (selection) BOOKS &amp; CATALOGUES Carroll, Amy Sara (2017) REMEX: Towards an art history of the NAFTA era, pp. 117-118. Austin: University of Texas Press. Karnes, Andrea, ed. (2013) Mexico Inside Out: Themes in Art since 1990, pp. 80-93, 158-161, 180. Fort Worth: Modern Art Museum of Fort Worth. Miller, Inbal &amp; Hernández, Edgar Alejandro, eds. (2013) Limitless: Contemporary Art in Mexico City 2000-2010, pp. 116-117, 142-143, 236-237, 447. Mexico City: Cubo Blanco/Editorial RM. Gioni, Massimiliano &amp; Hoptman, Laura &amp; Cornell, Lauren, eds. (2009) Younger than Jesus: The Artist Directory, p. 447. New York: Phaidon Press. Jáuregui, Gabriela (2008) Pull the Trigger: Risking Bodies in Recent Art from Mexico City in John C. Welchmann (ed.) The Aesthetics of Risk, pp. 224-245. Zurich: JRP | Ringier. Pyrkina, Daria, ed. (2008) Qui Vive? I Moscow International Biennale for Young Art, pp. 27-29,46. Moscow: NCCA|MMMA|Stella Art Foundation. MAGAZINES Quiroz, Marcela (2017) Javier Barrios and Joaquin Segura in Artforum, December 2017. p. 217 Pederson, Amy (2013) Trials of a Heretic: Joaquin Segura in Artillery, vol. 7 no. 5, May-July 2013. pp. 36-37 Sivanesan, Sumugan (2012) Poetics of Failure in Das Superpaper, no. 25, November 2012. pp. 44-50 Jeppe, Thomas (2011) Deceive, Inveigle &amp; Obfuscate: An interview with Joaquin Segura in Discipline, no. 1, Winter 2011. pp. 46-49 Jáuregui, Gabriela (2011) Mexico City Report in Frieze, no. 136. pp. 116-118 Poloni, Olivia (2010) Omega in Un.Magazine, no. 4.1. pp. 98-102 Fadanelli, Guillermo (2009) El arte de la insolencia in Dia Siete, no. 487. pp. 18-23 Solano Sandoval, Claudia (2009) Violencia Segura invade in Ocio, no. 638, December 2009. p. 23 Capps, Kriston (2009) ID-Entity in Art Papers, January-February 2009. p. 70 Arozqueta, Claudia (2008) El arte de la provocación in Ambientes, vol. 4, no. 21, October-November 2008. pp. 108-110 Arozqueta, Claudia (2007) Cuauhtémoc Buddha in Replicante, vol. 3, no. 10, February-April 2007. p. 30 Calera-Grobet, Antonio (2005) Joaquín Segura in Código 06140, vol. 4, no. 29, October-November 2005. pp. 32-33 David, Mariana (2005) Latin America now in Flash Art International, vol. XXXVIII, no. 243, July-September 2005. pp. 102-105 Jáuregui, Gabriela (2005) Hoy el arte mexicano se viste de fiesta in Lápiz, vol 24, no. 209, January 2005. pp. 62-77 Garnica, Dolores (2005) Término medio, por favor in Ocio, no. 396, April 2005. p. 32 Flores, Jorge (2005) Acapulco Golden in Replicante, vol. 1, no. 2, January-March 2005. p.17 Valdés, Daniel (2005) Acapulco Golden in Marvin, no.29, March 2005. p. 90 David, Mariana (2004) Joaquín Segura: Inminencia de choque in Origina, vol. 12, no. 141, December 2004.&nbsp; pp. 24-33 Celeste (2004) Acapulco Golden in Celeste, no.16, Winter 2004. p.18 Perro Malo y Grosero (2004) Acapulco Golden in Gorila, vol. 3, no. 34, November 2004. p. 46 Mallet, Ana Elena (2003) Antología del Escándalo in DF por Travesías, no.4, October-November 2003. p.57 NEWSPAPERS Sánchez, Luis Carlos (2022) Arte vs. el abuso in El Heraldo de México, March 30, 34. Ávila, Sonia (2017) Repertorios de vigilancia in Excelsior, September 29, E3. Ávila, Sonia (2017) Corrupción, lastre intergeneracional in Excelsior, August 14, E6. Ávila, Sonia (2016) La guerra que es de todos in Excelsior, December 19, E1,3. Sánchez, Sandra (2015) La izquierda está de rebaja in Excelsior, Noviembre 30, E4. Sánchez, Sandra (2015) Bandera en clave morse in Excelsior, October 9, E6. Miller, Inbal (2014) Segura cuestiona el poder del Estado in Excelsior, February 4, C7. Mortkowitz, Siegfried (2013) Nurturing international art in The Prague Post, May 15-21, C1-C2. Solís, Alberto (2011) Joaquín Segura retoma el arte de la resistencia in Milenio Nacional, August 22, 43. Gutiérrez, Vicente (2010) Joaquín Segura: Una obra de arte debe incomodar in El Economista, February 26, 81. El Informador (2009) La rebelión estética de Joaquín Segura in El Informador, November 25, 12B. Pérez, Rebeca (2009) Provocará con arte in Mural, November, C7. Gutiérrez, Diana (2008) ‘Estetizan’ la violencia in Reforma, October 8, C7. Hernández, Edgar (2006) Una sobadita para progresar in Excelsior, December 9, C7. Aréchiga, Gustavo (2005) Arriesgan y provocan en la Arena México in Mural, April 1, 8D. El Informador (2005) Plástica que incita a la provocación in El Informador, April 1, 10B. Hernández, Edgar Alejandro (2004) Censuran video alusivo a Imaz in Reforma, April 22, C1. Riveroll Julieta (2004) Dadapsicodeli, un arte que sí es in Reforma, December 16, C4. Reforma (2003) Muestra el Carrillo Gil videos ‘mala onda’ in Reforma, September 30, C4. Ceballos, Miguel Angel (2003) Arte Provocativo in El Universal, September 28, F1. ONLINE Garcia Navarro, Lulu (2019) Why Mexican artist Joaquin Segura doesn’t think politics solves problems [online] PBS NewsHour.&nbsp; &nbsp; &nbsp; &nbsp;Available at: https://www.pbs.org/newshour/show/why-mexican-artist-joaquin-segura-doesnt-think-politics-solves-problems &nbsp; &nbsp; &nbsp; &nbsp;[Last accessed: January 30, 2023] https://joaquinsegura.net/Texts Mon, 26 Aug 2019 21:39:49 +0000 Joaquin Segura https://joaquinsegura.net/Texts <img src="https://payload.cargocollective.com/1/12/395766/5778116/OMEGA%20segura%20cat-1.jpg"> Risky Business: The Work of Joaquin Segura-extract-Gabriela JáureguiJoaquin Segura is Mexico City’s latest enfant terrible, the inheritor of what Antonio Calera-Grobet terms a ‘shock troop’ formed by ‘Yoshua Okón, Miguel Calderón, Gustavo Artigas or Artemio, who saw video-art and lived, documented or post-performed action as an unbeatable support for the scrutiny of violence as a leading theme and motif of contemporary art.’ Segura has also been called a cultural provocateur, a saboteur of the status quo, and a lo-tech hacker.Segura is the poster-boy for a young generation that is culturally savvy and globally connected and which, for better or worse, calculates risk and its consequences much more consciously than the generations that came before. Segura, in particular, has both appropriated and questioned the effectiveness of art as a kind of sabotage, reminding the spectator that the crimes occurring around us every day are more easily forgotten than crimes recorded for the art gallery.Gabriela Jáuregui (2010) extract from Risky Business: The Work of Joaquin Segura in Omega, show catalogue, Margaret Lawrence Gallery. Melbourne, Australia.Download full text here (PDF, 8.5 mb)<img src="https://payload.cargocollective.com/1/12/395766/5778116/Screen%20Shot%202013-06-29%20at%206.05.24%20PM.png" width="600" height="63" style="width: 600px; height: 63px;"> -extract-Joaquin Segura’s natural habitat is what Hakim Bey called the Temporary Autonomous Zone, a punk rock anarchism littered with empty beer bottles and full ashtrays. In the TAZ, the permanent terrorism warned of by Lotringer and Virilio has been leavened by poetry, the hamstrung artist has remade himself as a saboteur of the first order and art as a criminal act.Segura plays the role of the anthropological savage, employing the Mexican label as a temporary and expedient strategy for making art and fucking with culture. Individuals who repeatedly transgress the socially policed standards of cultural identity are inherently threatening to the authenticity and power of this entire ideological edifice. But within these transgressions, the potential for assimilation and neutralization is ever present. Possibly Segura’s work indicates a solipsistic miring in the practice of overdetermination from without. The perception of Mexicanness he plays with lines up with the most racist fantasies of gringo outsiders, but a feeling of complicitness often outweighs any evidence of critique. Almost every review of Segura’s work refers to him as an enfant terrible, but this is a title he has outgrown. His rage is now cut with melancholy and deepened by maturity. To paraphrase revolutionary filmmaker Melvin van Peebles, Segura may be an asshole, but he’s not stupid. Segura’s art is like fireworks: a weapon, but one invented to cause aesthetic shock, and not intended for use in war.Amy Marie Pederson (2012) extract from Empty Beer Bottles &amp; Full Ashtrays: Joaquin Segura and the Aesthetics of Provocation. This text is an expanded version of the printed article Trials of a Heretic: Joaquin Segura featured in Artillery, vol. 7 no. 5, May-July 2013. Download full text here (PDF, 220 kb)<img src="https://payload.cargocollective.com/1/12/395766/5778116/CONTINENT%20schultz%20interview-1.jpg" width="450" height="155" style="width: 450px; height: 155px;"> -extract-Joaquin Segura is at once an anomaly in Mexico’s contemporary art scene at the same time as he is one of the most emblematic representatives of a larger shift toward a postnational identity among its youngest generation of artists.If Mexico looks increasingly like a foreclosed home burning to the ground, Segura could likely be the one walking away, charred matchstick between thumb and forefinger and shit-eating grin on his face. His corrosive attacks on institutions, ideologies, and power reflect a deep general distrust of authority, increasingly evident within the work of younger Mexican artists.Brett W. Schultz (2011) extract from Gonzo Strategies of Deceit: An Interview with Joaquin Segura in Continent, 1.2. p. 117-124Download full text here (PDF, 730 kb)<img src="https://payload.cargocollective.com/1/12/395766/5778116/DIA%20SIETE%20_segura-1.jpg" width="450" height="247" style="width: 450px; height: 247px;">El arte de la insolencia-extract-Guillermo FadanelliImagino que los creadores de objetos de arte no esperan ser explicados, de lo contrario su inocencia nos movería a risa. En cambio, esperan que los relatos, cuentos o interpretaciones que se producen alrededor de su obra vuelvan más complejo y dinámico su propio quehacer. El arte es, en efecto, un medio de autocomprensión, pero esta comprensión no se halla completa sin la mirada del otro, sin su crítica e incluso sin el concurso o desaprobación del público.Este breve preámbulo ubica de buena manera mi relación con las obras del joven artista mexicano Joaquín Segura. Si Joaquín ha permitido que la insolencia se vuelva expresión cotidiana de su trabajo es porque a simple vista da la impresión de que no tiene nada qué perder. En caso de crear una rebelión gestual sin más alcances que el de incomodar a los inocentes, no obtendrá ni la cárcel ni el verdadero desprecio. Si, por el contrario, sus expresiones son consideradas como los disparos de un artista maldito y dan en el blanco creando en el espectador una atmósfera de íntimo malestar, entonces obtendrá un papel que desempeñar en el confuso mundo del arte contemporáneo. Y, sin embargo, no creo que su propuesta o su hacer se agote en esta diatriba. Sus obras no parecen ser concebidas para agotarse en las consecuencias que provocan, ni buscan de manera premeditada una reacción específica (aunque esto suceda a menudo). En todo caso es más notorio su deseo por desnudar conceptos aparatosos como los de arte o poder y mostrarlos sin ningún tipo de elaboración determinada de antemano. Como si la inocencia naciera en el momento mismo de develar lo que todos sabemos. Burlarse de una celebridad artística o de un personaje famoso sin necesidad de construir una retórica en su contra no es abusar de los privilegios de una cómoda posición. Es todo lo opuesto a un día de campo: la posición de Joaquín no es cómoda en cuanto su obra es celebrada de manera desmesurada por quienes ven en él la encarnación del irredento clásico o, en contraparte, cuando es acusado de acudir una vez más a las manidas formas contestatarias de la vanguardia. Añado una más: la censura por parte de quienes toman su obra al pie de la letra. En medio de estas posiciones él continúa formando una colección de estampas del desconcierto. Ha tomado un atajo y una butaca desde la cual observa, no sin cierta sorna, los objetos que su cinismo va creando para consumo del público. Es como un auto espectador que se complace en realizar un atentado de la manera más sencilla posible.Guillermo Fadanelli (2009) extract from El arte de la insolencia in Día Siete, no.487. p. 18-23.Download full text here (PDF -spanish only-, 337 kb)<img src="https://payload.cargocollective.com/1/12/395766/5778116/guacamole%20a.jpg" width="670" height="406" style="width: 670px; height: 406px;">-extract-Arden DeckerIn the summer of 2012, I sat down with three so-called agents provocateurs of contemporary Mexican art at the nonprofit, artist-run space SOMA in Mexico City. Yoshua Okón and Artemio have been engaging radical artistic strategies utilizing installation, sculpture, video, and performance since their careers began in the 1990s. Joaquin Segura has been exhibiting since the early 2000s; his body of work grows from preoccupations he shares with Artemio and Okón, such as violence, destruction, identity, and political/social revolution, but he has taken their generation as both point of influence and departure. In this excerpted interview, the artists discuss their generational differences, the implications of being a Mexican artist (if any), what it means to be inside or outside of the institution, and the role of spectacle in their work and the contemporary art world at large.Arden Decker (2013) extract from For the Record: The Guacamole Show and Other Topics in Mexico Inside Out: Themes in Art Since 1990, show catalogue, The Modern Art Museum of Fort Worth. Fort Worth, Texas.Download full text here (PDF, 8.1 mb) https://joaquinsegura.net/News Mon, 26 Aug 2019 21:39:44 +0000 Joaquin Segura https://joaquinsegura.net/News February, 2023: Éminence Grise, a solo show showcasing the most recent series by the artist, along with two key works from previous bodies of work opens on February 6th at Pequod Co, Mexico City. The exhibition text is a contribution by Andrea Karnes, Chief Curator at The Modern Art Museum of Fort Worth, Texas. + Info <img width="2560" height="2560" width_o="2560" height_o="2560" data-src="https://freight.cargo.site/t/original/i/dffef262a880383a696d28be1d7adcb507fdf95a3167786f4860aa18248f2fae/EMINENCIA-inv-ok-Feb-2.jpg" data-mid="167102811" border="0" src="https://freight.cargo.site/w/1000/i/dffef262a880383a696d28be1d7adcb507fdf95a3167786f4860aa18248f2fae/EMINENCIA-inv-ok-Feb-2.jpg" /> https://joaquinsegura.net/Contact Mon, 26 Aug 2019 21:17:15 +0000 Joaquin Segura https://joaquinsegura.net/Contact For any inquiries regarding current activities please use the following form. If you prefer using regular email please message: estudio [at] joaquinsegura [dot] net Joaquin Segura is represented by Pequod Co. (Mexico City, MX) Photo Credits: Ernesto Rosas Pineda, Sergio López, Marcos García / Arena México Arte Contemporáneo, Robert Divers Herrick &amp; Estudio Segura.