Curatorial & Educational

Curating is an act of inquiry. To me, curating is not a passive act but an active verb​. It involves weaving artworks, ideas, and public engagement into a cohesive dialogue that extends beyond ‘presenting artworks.’ It seeks to prompt critical reflection and community participation. This practice embodies the educational turn, wherein exhibitions become platforms for discourse and shared learning​. Art and curation merge as complementary forces that probe cultural narratives, offering space for transformative thought and collective interpretation​​. My approach to artistic research embraces this philosophy, situating art as a multifaceted method of knowledge production. In the contemporary creation and exhibition landscape, art could also be re-envisioned not as a static product but as an active entity. In this space-place, inquiry and creation meet in continuous flux. 

Teaching is learning, learning is doing, engaging, experimenting, failing, and continuing doing. In art practice, as in art learning, the process is as crucial as the outcome. This resonates with John Baldessari’s reflection that while art cannot be taught in the conventional sense, immersion in the practice offers invaluable insights​. This notion underscores the importance of the 'in-between'—that fertile ground where ideas are tested, methods adapt, and meaning evolves​. For art to happen, artists need the means to create: time, space, materials, peers, history, theory, and feedback. Ultimately, I believe that artists seek ways to connect with others and share their experiences about the human condition through their art.

The intersection of exhibitions and educational events provides a fertile ground for knowledge production, transforming these spaces into dynamic sites of inquiry and exchange. Exhibitions are not merely displays of artistic production; they are platforms for engagement, where art serves as both the content and the context for critical dialogue. Similarly, educational events embedded within exhibitions encourage active participation, questioning, and reflection, creating opportunities for shared learning beyond the gallery walls. These spaces become environments where knowledge is not simply transmitted but co-created, opening a deeper understanding of our world's cultural, social, and political narratives.

By framing exhibitions and educational events as sites of knowledge production, we are invited to rethink the roles of artists, curators, educators, and audiences. How do these roles overlap and evolve in spaces where inquiry and creation are in constant dialogue? What are the limits and possibilities of using art as a tool for learning, reflection, and collective growth? These questions have guided my curatorial and pedagogical practices, aiming to generate spaces where transformation is possible and intrinsic to the experience.

1 kilómetro en la Ciudad

(The Exhibition as a Site for Knowledge Production)

Centro Cultural Municipal, Guatemala City
Exhibited in February 8–22, 2020

Participating artists; Marvin Olivares, Edwin Bixcul, Julio Ajín, Iris Castillo, Elda Figueroa, Fabiola Aguirre, Samuel Escobar, Damaris Boche, Gabriel Rodríguez Pellecer, Marilyn Boror, Carolina Alvarado, Fabiola Luna, Gustavo Sapón-Madrid, Gume Mejía, Jorge Carlos Pineda, Gloria Quiná, Astrid López, Lyndsie Price

This is the exhibition project conceived for the teacher-artists from the Municipal School of Visual Arts in Guatemala City. The proposal centers on a research theme focused on the everyday within the urban environment. Taking a perspective and operating from the conceptual framework of "One Kilometer in the City," the artists create the obligation to look at themselves within the proposed context where one lives and moves as point of departure for their creation.

Metropolises have always been dense and complex spaces characterized by heterogeneous populations, central economic and political functions, and abundant material and cultural resources. Based on the hypothesis that the metropolitan emerges from the diversity of transnational and transregional urban networks, our research intends to materialize through artistic forms, events, phenomena, and distinctive situations of metropolitan life.

Urban developments are based on change; therefore, besides space, issues of time should be fundamental to our thinking about the urban. By temporality, we refer not only to the past, present, and future but also to temporal rhythms, temporal regimes, the structuring of daily practices, the rationalization of work, and leisure time.

In this exhibition, each artist defined their research conception based on site specificity, choosing one kilometer of the city as a research context and place of composition. The chosen distance was not defined strictly to the millimeter but within the framework of imagination, supposing that there existed a perceptual boundary that delineates edges and delimits specific geographies.

As authors of their particularities and interests, the artists worked in different formats according to the needs of their investigative proposals and how each individual found meaning in various media—be it painting, sculpture, drawing, video, photography, performance, installation, or an eclectic combination of media and materials.

After touring the exhibition, these artists, through their representations, bring us closer to their sensitivities regarding how they see the body in space or the effect that space as context exerts on the body. They invite us to consider the possibility of relationships between the body and space. The city becomes both a point of arrival and departure, the town as a permanent station, and the city as an articulation of encounters, relationships, intensities, and dimensions.

*Iterations and previous attempts for a proposal:

The project 1 Kilómetro en la Ciudad was first conceived in 2013, aiming to explore the intersections of body and space within the specific context of Guatemala City. The concept invited artists, intellectuals, and writers to select and reflect on a "1-kilometer" stretch within the city, engaging with themes such as the body in space, the impact of space on the body, and the movement of the body through urban environments.

The project sought to create a dynamic, collective dialogue through a dedicated website featuring contributions from participants like: Rosina Cazali, Branly López, Martín Fernández, Colectivo Cuatro Caminos, María Fernanda Carlos, Juan Brenner, Jessica Kairé, David Marín, Nora Pérez, and Jorge de León, among others.

However, due to technical and institutional challenges in coordinating the exhibition and securing the space, the project was indefinitely postponed in 2013. Despite this setback, the idea remained alive and was revisited between 2019 and 2020, re-imagined with a new group of participants and a renewed perspective. The project’s enduring relevance highlights the evolving relationship between the body and urban space and the power of collaboration in addressing these themes within Guatemala City’s unique socio-cultural landscape.



Co-founder & Co-curator of Galería EXTRA in Guatemala City

Part of my curatorial activities also connect with engaging audiences with artists and collectors with artworks; it is relevant to highlight my pivotal role as co-owner and co-founder of Galería Extra in Guatemala City, where I led an ambitious curatorial journey. Between 2016 and 2019, I curated and co-curated around 22 exhibitions in the main gallery space and an additional 21 in the gallery's project room. These exhibitions reflected a commitment to fostering dynamic artistic dialogue and showcasing diverse creative voices. This period was marked by my dedication to shaping Galería Extra into a vital cultural hub, blending curatorial insight with co-ownership responsibilities to push the boundaries of contemporary art presentation. 

We strived to highlight young artists who were at the forefront of contemporary art production in Guatemala City and various other regions of the country. This approach aimed to decentralize the narrative of artistic production, ensuring that voices from across Guatemala were represented. Consequently, our vision extended beyond national borders to include emerging artists from Central America, bringing in talent from Costa Rica, Panama, El Salvador, and Honduras. By doing so, Galería Extra became a vibrant platform for regional exchange, a space where artists could share ideas and creative practices. This framework opened dynamic conversations that reflected both local and regional perspectives, pushing contemporary art in new and meaningful directions.

A relevant selection of these exhibitions include:

Volatilidad, Permanencia (2019)
Alejandro Medina, Fredy Rangel, José Wolff

Espacio habitado (2019)
Norman Morales

Tiempo, espacio (2019)
Ana Werren, Margarita Figueroa, Nathalie Béard

Extensión visual (2018)
Andrés Vargas, Kevin Frank

Des-Dibujando (2018)
Alejandro Medina, Alejandro Paz, Camila Fernández, Erick Menchú, Fredy Rangel, Gabriel Rodríguez, Gabriela Novoa, José Wolff, Josué Romero, Kevin Frank, Luiso Ponce, Manuel Chavajay, Margarita Figueroa, María Fernanda Carlos, Mario Alberto López, Mario Santizo, Marlov Barrios, Mauricio Contreras, Norman Morales, Pablo López, Patricio Majano, Sandra Monterroso, Sergio Valencia, Sofía Véliz, Ronald Morán, tepeu choc, Yavheni de León

Ru mujaal’ Ya’ (2018)
In collaboration with Museo de Arte Moderno, Guatemala City
Manuel Chavajay

Corpóreo, Extendible (2018)
Ana Werren

Pintura Actual: Visiones Contemporáneas (2018)
Amber Rose, Camila Fernández, Gabriela Novoa, Gerardo Gómez, José Wolff, Roberto Carter, Yavheni de León

Amplitud (2018)
Gabriel Rodríguez Pellecer

FEMME (2017)
Ana Werren, Camila Fernández, Gabriela Novoa, Inés Verdugo, Nathalie Béard, Sofía Véliz

Colectiva 260417 (2017)
AKA Mathias Jaspersson, Ana Werren, Andrés Vargas, Gabriel Rodríguez Pellecer, Matthew May, Norman Morales

Director of Content & Programming at FUNBA in Antigua Guatemala

Between 2017 and 2019, I served as the Director of Content and Programming at FUNBA, Fundación Nacional para las Artes, located in Antigua Guatemala. During my three years in this role, I was instrumental in shaping the foundation's vision and public engagement strategies. One of the key projects during this period was the MAG, Museo de Arte Guatemala, which was poised to open at FUNBA's facilities. I had the opportunity to design the educational project for MAG, setting the groundwork for its role as a dynamic cultural and educational institution. Additionally, I curated and established content policies and programming for FUNBA, a casa museo showcasing an extensive collection of Guatemalan art that spans from pre-Columbian times to contemporary works. My work focused on creating an inviting and informative space for the public, ensuring that visitors could engage deeply with the rich artistic heritage represented in FUNBA's collection.

 

Diplomado de Curaduría Contemporanea

In 2019, I conceived and produced the Contemporary Curatorship Diploma Program, a 10-month inter-institutional program designed to deepen the understanding and practice of contemporary curatorship within the visual arts. Collaboratively hosted by La Fototeca and Proyectos EXTRA, with the support of FUNBA, this program invited artists, creators, students, humanities researchers, cultural managers, and agents to participate.

Focusing beyond the logistical aspects of management, the program emphasized the curation of artistic projects grounded in rigorous research and the theorization of cultural discourses. The "Contemporary Curatorship" diploma aimed to train curator-researchers and curator-activators, equipping them with specialized knowledge in the visual arts. Participants gained practical tools and insights related to sustainability, management, and the economic aspects of launching cultural initiatives while also working towards positioning Guatemala City as a vital hub for contemporary art production and intellectual exchange in the region.

Structured across 12 comprehensive modules and divided into three trimesters, the program featured diverse teaching methodologies delivered by prominent curators, artists, and educators, including Martín Fernández-Ordóñez, Rosina Cazali, Pablo Ramírez, Camila Fernández, Josseline Pinto, Gabriel Rodriguez, Yavheni de León, and JJ Estrada. Each module aimed to cultivate critical thinking and develop investigative and discursive skills through lectures, workshops, and interactive activities. The program concluded with a collaborative exhibition symposium, providing participants a platform to apply their knowledge, engage with peers, and create meaningful connections within the art community.

La Pintura en la Práctica Contemporánea

(The Exhibition as a Site for Knowledge Production)

Museo de la Universidad de San Carlos (MUSAC), Guatemala
Exhibited from September 1–21, 2018
Camila Fernández, Mario Alberto López, Fredy Rangel, Andrés Rodrígue

In 2018, I proposed and curated the “La Pintura en la Práctica Contemporánea” exhibition at the Museo de la Universidad de San Carlos (MUSAC) in Guatemala City. This exhibition was a platform for inquiry, inviting five contemporary artists who had previously been my students to explore the evolving potential of painting as both material and concept. The goal was to push the boundaries of traditional painting and see how it could be approached in an experimental and exploratory manner. Central to the exhibition was the question: What were young contemporary artists in Guatemala City doing with paint and painting at that moment? This initiative highlighted these artists' innovative practices and fresh perspectives, emphasizing painting's relevance and adaptability in contemporary art. Because MUSAC is located in Guatemala’s city Historical District, it receives a lot of traffic from local schools in the area, an agenda of activities between participating artists and students was mediated by the institution for the visiting audiences.

Educational Projects for Fundacion Paiz Para Las Artes

Coordinator & Content Curator

Laboratorio de Arte Contemporáneo & Programa de Agentes Culturales

Between 2015 and 2017, I spearheaded two significant educational projects for Fundación Paiz para las Artes, designed to support more profound engagement with contemporary art and cultural practices in Guatemala. One of these initiatives was the Laboratorio de Arte Contemporáneo, a program that introduced young artists to contemporary art practices and taught them the methodologies of artistic research to inspire experimentation and production. Over the course of a year, Fundación Paiz provided these artists with studio space to develop their work, supported by the mentorship of five dedicated teachers. The program also included visits from local and international curators and artists, enriching the learning experience with diverse perspectives. This initiative was closely intertwined with the Bienal de Arte Paiz de Guatemala, offering participants a platform that connected them to a broader artistic dialogue.

The second program, Programa de Agentes Culturales, was similarly integrated with the Bienal de Arte Paiz and focused on training individuals passionate about art and culture. This program emphasized contemporary art methodologies, teaching participants to engage with audiences, conduct research, write effectively, think critically, and develop institutional critiques. Both programs were selective, curating small groups of participants based on their talent, dedication, and aspirations to contribute meaningfully to Guatemalan cultural life. Through these educational efforts, I aimed to create spaces that empowered artists and cultural agents to expand their practice and influence within the art community.

Laboratorio de Arte Contemporáneo

Diploma Course Program focusing on Visual Arts and Productive Creation from Artistic Research.

September 2016–June 2017. Fundación Paiz, Guatemala.
Mentors: Gabriel Rodríguez, Sandra Monterroso and Renato Osoy
Designed and Coordinated by Renato Osoy

Participants: Ricardo Alejos, Nathalie Béard, Yelena Chávez, Mario Alberto López, Cecilia Porras Sáenz, Fredy Rangel, Andrés Rodríguez Decena, Luis Soto, Patricia Urrutia

Intensive formative-educational program for artists, with a focus on experimentation and the development of a research method for the production of art. Participants were given a shared space for developing artistic processes and experiments. The program also featured guest visits to artist studios, as well as guest lecturers and visitors from the local and international art scene, ranging from legendary artists to curators based abroad, providing participants with a broad range of references in the medium of contemporary art. The program concluded with a group exhibition showcasing the participants’ results.

Final exhibition at ArteCentro Paiz, Guatemala City
June 27–July 25, 2017

With this exhibition, the nine months of the Diploma Program of Contemporary Art Laboratory at ArteCentro come to an end. This laboratory is a collaborative project between artists, artists-mentors, figurants, educators and participants of the local art scene in an institutional-experimental context. Each artist has found a different way of approaching content and materials through experimental essays and research processes.

Programa de Agentes Culturales

September 2015–June 2016. Fundación Paiz, Guatemala.
Mentors: Renato Osoy, Camila Fernández, Hellen Ascoli, José Angel del Valle, Gabriel Rodríguez, Rosina Cazali, Martín Fernández, Luisa González-Reiche
Designed and Coordinated by Renato Osoy

Participants: Álvaro Iván Beber García, Christopher Torres-Ticas, Julio César Paniagua Velásquez, Josseline Suzzette Pinto Trejo, José Enrique Oquendo Taracena, Juan Pablo González de León, Maria Belén García Aldana, María Gabriela Samayoa Flores, Mario Alberto López Cruz, Patricia María Urrutia Gálvez

The "Cultural Agency and Artistic Research" Program proposes training aimed at committed individuals. Subjects that consider themselves critical thinkers and creative makers. The program seeks to train them as artistic researchers and agents of change in the field of Visual Arts. In essence, the “Cultural Agency and Artistic Research” project trains its participants both in modes of operability and agency, as well as in those of perception, reflection and reference on their respective contexts. An intensive one-year program intertwining with the Paiz Art Biennial event, offering a formative-educational concept that articulates a polymorphic and multicontextual vision of the cultural in the field of contemporary art.

*A publication of the research texts of each participant was published at the conclusion of the program. A symposium was also held, in which each participant could expand on the process of their research.

Symposia: Un Evento en el Museo, un Museo en el Evento

Museo de Arte Moderno de Guatemala, Guatemala City
August 20, 2012

In 2012, I conceived and articulated “Un Evento en el Museo, Un Museo en el Evento” (An Event in the Museum, A Museum in the Event), a participatory event held at the Museo de Arte Moderno de Guatemala in Guatemala City. This event was born from a critical dialogue surrounding the lack of institutional spaces supporting contemporary art in Guatemala. At the time, there was an expectation for this modern art museum to step into the role of showcasing and nurturing contemporary art despite its primary focus being modern art. Initially, the museum was hesitant to adopt this role. Still, I managed to persuade the director at the time, Architect Jose Mario Maza, to grant us a whole day for contemporary artists to engage with the space in unprecedented ways.

For this event, the museum opened its doors to rising contemporary artists, allowing them to take over the space for an entire day of art-related activities. The program featured a series of interventions, performances, and lectures that encouraged artists, theorists, and critics to reflect on pressing issues within global and local contemporary art practices. Discussions addressed what a museum's role should be, both in the present and moving forward, and how the Museo de Arte Moderno de Guatemala could better serve the artistic community. This one-day event became a vital platform for connection, critical thinking, and exploration of how institutions can respond to the evolving landscape of contemporary art in Guatemala.

*Read Publication (PDF)

Site specific works by:

Stefan Benchoam
Byron Mármol
Proyectos Ultravioleta
El BIP (Buró de Intervenciones Públicas)
Eny Roland, performance-portraits
Alejandro Marre, reading-performance
Alejandro España, documentation-video art
Andrea Barreda and Astrid Morales (assistants), documentation and stream

Lectures:

Emiliano Valdés: El arte, Espacios de agencia y activismo
Mario Santizo: Estrategias artísticas
Branly López: La descolonización del pensamiento
Silvia Herrera: Modernismo / actualidad
Rosina Cazali: Relatoria