Leo Marz June, 2020 - Webflow

 
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Leo Marz June, 2020 - Webflow
Leo Marz   June, 2020
Leo Marz June, 2020 - Webflow
Leo Marz                                                                                                                                                July, 2020

Zapopan, 1979
Lives and works in Monterrey

The origin of his ideas is abstract. A savage and chaotic stream that he accesses through artifacts, narratives, music and cultural products with ap-
parent connections between them. The choice of the subjects he assesses is only a pretext to surrender himself to the flux of discontinuities that
exist in the distance between great discussions about subjects of our time and all that we experiment in our daily lives but cannot manage to de-
fine with words. His actions become visible through spacial montages that bring objects and subjects together, trying to tell stories.

Leo Marz has an MFA in new media as part of the program by Transart Institute and Donau Universität in Krems, Austria. He has received sev-
eral grants including: Programa Jóvenes Creadores del FONCA twice, Colección Jumex, Programa de Estímulo a la Creación y al Desarrollo
Artístico (PECDA) and the third edition of the program Bancomer-MACG Arte Actual.

He has shown his work at: the Biennial of Chechenia; the 2nd Biennial of Yucatán (honorary mention on installation), Palazzo delle Arti in Na-
poli, South by Southwest in Austin, CMJ Music Marathon in New York,
Center for Curatorial Studies Bard Hessel Museum in Annandale-on-Hudson, Espace Pierre Cardin in Paris; Steve Turner Contemporary in
Los Angeles, Museo de Arte Moderno, Museo de Arte Carrillo Gil, Casa del Lago, MUCA Roma in Mexico City and Museo MARCO in Mon-
terrey.

He has given several workshops in museums such as Museo de las Américas in Denver; Museo de Arte Carrillo Gil in Mexico City and Museo de
Arte Manuel Felguérez in Zacatecas. From 2008 to 2012 he was professor at CEDIM in Monterrey.

He co-directed La conversación, a program focused on the transdisciplinary production of contemporary art. He was co-curator in the videoart
program Círculos de Confusión: Caos Social y Ficciones Dominantes for Transitio_MX 04.

He was resident curator in Object Not Found where he developed a series of exhibitions, video programs, conferences and created an online fo-
rum on discussion and critic on emerging artistic practices in Nuevo León during the first decade of the XXI Century. He was local curator for
the XII Bienal FEMSA. For three years he directed Lugar Común, a space for poetic production in Monterrey. He is currently the director of
the UDEM’s art school.
Leo Marz June, 2020 - Webflow
Leo Marz                                          Project selection                                                                                    July, 2020

Monolito

The Monolito series begins with a cartoon that eventually turns into a series of geometric shapes and surfaces increasingly removed from their
original context. As in White Ninja or #CC, the rationale of these works is based on sampling: an initial identifiable source that eventually blurs
and fades away through iteration: the very same thing being gradually transformed. Monolito: banners, performances, books, paintings... This
series premiered as a part of the Proyectos Impala program, an itinerant show by curator Alejandro Luperca Morales, consisting of a cargo truck
traveling through several locations in Ciudad Juárez. Exhibitions and workshops were organized in the massive container of the trailer. Given
this project’s nature at, Marz chose to use an icon recognizable by members of different generations that would serve as a sort of teaser for enter-
ing the field of art.

Using the most recognizable character in a Japanese cartoon series as a starting point, is similar to the use of horror in Trampa Macabra. It is
about thinking, using these elements to build a narrative to make images flow and to communicate. The cartoon character is itself only an excuse
to raise a number of questions and to get painting. The ultimate goal is to reflect on the world we live in.

At this premiere, Monolito came to be through small-format paintings which could be rearranged each time the trailer arrived in a new part of
town. Introducing a practice that would become commonplace in this series, the work invaded the streets through murals and public composi-
tions created in the site where the trailer parked.

Ever since, the pieces in this series have appeared in diverse formats and dimensions, ranging from smaller canvases to publications and even to
large-scale pieces designed to interact with the architectural space. At MARCO Museum in Monterrey, for instance, the space itself was made up
of large canvases, paintings, and interventions on the museum’s walls. There, Monolito evolved from being an object to become a setting or an at-
mospheric installation of sorts. This display then turned into an ideal spot for selfies and both group and individual photos, once again mutating
into images that started to circulate on the Internet and to have, as it happens in this medium, a life of their own.
Leo Marz June, 2020 - Webflow
Leo Marz   Project selection                       July, 2020

                               Monolito, 2018

                               Installation view
                               Museo MARCO, Monterrey
Leo Marz June, 2020 - Webflow
Leo Marz   Project selection                          July, 2020

                               Monolito (05/100100AL), 2017

                               Acrylic on linen
                               100 x 100 cm
Leo Marz June, 2020 - Webflow
Leo Marz   Project selection                          July, 2020

                               Monolito (07/100120AL), 2017

                               Acrylic on linen
                               120 x 100 xm
Leo Marz June, 2020 - Webflow
Leo Marz   Project selection                          July, 2020

                               Monolito (02/6048AL), 2017

                               Acrylic on linen
                               60 x 48 cm
Leo Marz June, 2020 - Webflow
Leo Marz   Project selection                            July, 2020

                               Monolito, 2017

                               Installation view
                               Mural and bench
                               Acrylic on concrete and wood
                               600 x 2400 cm
Leo Marz June, 2020 - Webflow
Leo Marz   Project selection                          July, 2020

                               Monolito (03/6070AL), 2017

                               Acrylic on linen
                               60 x 70 cm
Leo Marz June, 2020 - Webflow
Leo Marz   Project selection                       July, 2020

                               Monolito, 2018

                               Installation view
                               Museo MARCO, Monterrey
Leo Marz   Project selection                          July, 2020

                               Monolito (03/4040AC), 2018

                               Monolito (01/4040AC), 2018

                               Monolito (04/4040AC), 2018

                               Acrylic on linen
                               40 x 40 cm
Leo Marz   Project selection                          July, 2020

                               Monolito (07/4040AC), 2018

                               Monolito (06/4040AC), 2018

                               Monolito (08/4040AC), 2018

                               Acrylic on linen
                               40 x 40 cm
Leo Marz   Project selection                          July, 2020

                               Monolito (04/200200AL), 2018

                               Acrylic on linen
                               200 x 200 cm
Leo Marz                                           Project selection                                                                                    July, 2020

Las batallas del display and #CC

Las batallas del display and #CC, in which Leo Marz moved away from film production to zero in —with spectacular lighting— on his pictorial
work.

It is worth stressing that both series originated in a digital field. While working from home to office, the artist searched and saved images to cre-
ate visual compositions using his computer and cell phone. In This way, he was able to create works that found their way into canvas and other
media, becoming a whole pictorial revolution.

The paintings included in Las batallas del display were created by superimposing layers of screenshots, resulting in geometric elements which
Marz reconfigured into abstract compositions. These pieces have been displayed on canvases as well as directly on the walls of the exhibition
room, emphasizing that the word “display” of the title refers not only to the virtual world of digital screens, but also to the possibility they have
to unfolding and reproduce itself in a tangible space.

As for the pieces of the #CC series, they were produced through saturating and superimposing digital images. This series, also known as laser
paintings —because they are printed using a laser printer, and then transferred to the prepared canvas— has a certain musical quality reminis-
cent of the loops, beats and samplers that Marz has produced as a professional musician —a career that has evolved over the years alongside his
work as a visual artist, especially with the White Ninja project.

In the timelessness of the digital era, these series of paintings -along with the one that lends its name to this publication- have transformed the
artist’s production process. The type of work they involve, the amount of time they take to conceive and dedicate to them are factors which
gradually transform each of the series. That is, more than the realization of the ideas, it is the day-to-day activities that have transformed them
throughout the years. Not the conceptual mechanism but the actual practice itself.

Yet, Leo Marz is neither a purist nor a proponent of specific media formats, so my suspicion is that one day there will be new footage filled with
fresh filming locations and new camerawork where pictorial reflection will no longer play the starring role. How will Christina Perez’s portrayal
be perceived and interpreted in fifteen years’ time? For the moment, in this image-saturated world, dominated by the unfiltered and never-end-
ing scrolling through mobile phones and the 4G Network, painting serves as a decelerating tool to stop time and reflect about images.

Leo Marz is an artist within historian’s glasses, hooked up to high-speed Wi-Fi 24/7.
                                                                                                                                         Esteban King
Leo Marz   Project selection                              July, 2020

                               La nueva onda del silencio, 2017

                               Installation view
                               El cuarto de máquinas, Mexico City
Leo Marz   Project selection                            July, 2020

                               Batallas del display (01/140160AC), 2018

                               Acrylic on canvas
                               140 x 160 cm
Leo Marz   Project selection                              July, 2020

                               Las batallas del display, 2017

                               Acrylic on linen
                               80 x 80 cm
Leo Marz   Project selection                               July, 2020

                               Las batallas del display, 2018

                               Acrylic on canvas
                               160 x 260 cm
Leo Marz   Project selection                               July, 2020

                               Las batallas del display, 2017

                               Acrylic on canvas
                               80 x 60 cm
Leo Marz   Project selection                               July, 2020

                               Un buen final (de la serie Las batallas del
                               display), 2019

                               Acrylic on canvas
                               300 x 250 cm
Leo Marz   Project selection                               July, 2020

                               Las batallas del display, 2018

                               Installation view
                               MURA, Guadalajara
Leo Marz   Project selection                             July, 2020

                               we have many, many folders (detail), 2017

                               Acrylic on canvas
                               Variable measures
Leo Marz   Project selection                             July, 2020

                               we have many, many folders (detail), 2017

                               Acrylic on canvas
                               Variable measures
Leo Marz   Project selection                             July, 2020

                               we have many, many folders (detail), 2017

                               Acrylic on canvas
                               Variable measures
Leo Marz   Project selection                            July, 2020

                               we have many, many folders, 2017

                               Installation view
                               ESPAC, Mexico City
Leo Marz   Project selection                              July, 2020

                               La nueva onda del silencio, 2017

                               Installation view
                               El cuarto de máquinas, Mexico City
Leo Marz   Project selection                             July, 2020

                               #cc_200*01, 2018

                               Dry toner and acrylic on canvas
                               200 x 200 cm
Leo Marz   Project selection                             July, 2020

                               #cc (03), 2019

                               Dry toner and acrylic on canvas
                               60 x 60 cm
Leo Marz   Project selection                               July, 2020

                               Untitled from the series #cc, 2019

                               Dry toner and acrylic on canvas, wall in-
                               tervention
                               80 x 80 cm
Leo Marz   Project selection                                July, 2020

                               El viento (de la serie #cc), 2019

                               Dry toner and acrylic on canvas
                               160 x 480 cm

                               1977, 1978, 1979, 1980, 1981, 1982, 2019

                               Oil on canvas
                               65 x 60 cm
Leo Marz                                        Project selection                                                                                  July, 2020

Bailout

A Million of Good Reasons to Become a Millionaire was a 2006 drawing project by Damián Ontiveros in which he depicted Adam Smith while
performing actions to produce wealth. It consisted of 563 master drawings that were copied 1776 times (first print of The Wealth of Nations) by
manual labor of people from different contexts: art students, blue collar workers, even communities of migrants. His intention was to complete a
million of drawings each of them costing a dollar to create a million dollar art work.

The production process, through which the foundations of modern capitalism and the mechanism of free market were satirised, clashed into a
series of misfortunes, provoking its demise. Damián quit working on it in 2010.

With Bailout, Leo Marz has gathered funds from Instituto Zacatecano de Cultura and CENART to rescue the project. He rearticulates the ma-
chinery of A Million of Good Reasons to Become a Millionaire to talk about the collapse of the economic system, through a reenacment of the use
of public funding to try to keep it running (TARP, Fobaproa, etc.)
Leo Marz   Project selection                             July, 2020

                               Bailout, 2014

                               Installation view
                               Marble, drawings on paper, inkjet prints on
                               paper and gold painted metal cubes
                               Variable measures
Leo Marz   Project selection   July, 2020
Leo Marz   Project selection   July, 2020
Leo Marz   Project selection   July, 2020
Leo Marz                                          Project selection                                                                                    July, 2020

CHATS

Leo Marz has a deep interest in how new media modifies the way we represent ourselves and create our own public self with the multiplicity of
fictions surrounding us. The same ones that had modified their own narrative structures thanks to platforms like Youtube and the different social
networks. Phenomenon that, at the same time, alter the way we contextualize ourselves and create our own story / history.

Departing from Pasolini’s idea about the unique capacity of cinema to reproduce reality, differentiating it from the other arts, and in that reality
is constituted solely by multiple fleeting examples. It is to say by particular cases by means of which we are able to include / understand behav-
iors, gestures and attitudes of our resemblances. We could assert that we can produce sense thanks to the understanding of therelations between
these fragments of reality.

CHATS is a video series based on actual MSN Conversations collected by José Jiménez Ortiz for his My Received Files project. They are per-
formed by my family and close friends. Every episode deals with a different aspect affected during virtual interactions like time, space, language,
identity, etc. Marz’s intention is to address this fragmentation and uncertainty. As Mario Pezzella says: “Movies express by nature of its technique
and production the experience of the discontinuity that the ‘new machines’ introduce in every aspect of common life.”
Leo Marz   Project selection                     July, 2020

                               CHATS E04, 2011

                               Video HD
                               10:51 min
Leo Marz   Project selection                     July, 2020

                               CHATS E03, 2011

                               Video HD
                               02:47 min
Leo Marz   Project selection                     July, 2020

                               CHATS E05, 2011

                               Video HD
                               01:49 min
Leo Marz   Project selection                     July, 2020

                               CHATS E01, 2011

                               Video HD
                               02:28 min
Leo Marz                                            Project selection                                                                                     July, 2020

Don’t Look Behind (Trampa Macabra)

In Trampa Macabra a curator turns into a detective and starts the hunt for an assassin who removes and collects Dr. Lakra tattoos. The project
is a reflexion about the life span of cultural products and, above all, of cult films in the post-internet era. The potential of the fullfilment of the
movie is suspended to analyze their development in the mediatic resources offered by new technologies. Its deterioration, fragmentation, dis-
memberment, recomposition, possible translations, dubbing, supports, etc. are recovered as creating platforms and to analyze an overflow of
products generated by consumers of pop culture.

Interested in the genre and of its production forms, Marz plays with aesthetic and conceptual elements that allow him to travel between produc-
tion resources of 70’s cinema and the mediatic platforms and broadcasting nowadays.
Leo Marz   Project selection                             July, 2020

                               Trampa Macabra, 2014

                               Brilliant white enamel on wall
                               300 x 1000 cm
Leo Marz   Project selection                            July, 2020

                               Trampa Macabra a.k.a. Don’t Look Behind,
                               2014

                               Acrylic and led sign
                               70 x 300 cm
Leo Marz   Project selection                         July, 2020

                               T
                               rampa Macabra, 2014

                               HD video projection
Leo Marz   Project selection                          July, 2020

                               Trampa Macabra, 2014

                               HD video projection
Leo Marz   Project selection                          July, 2020

                               Trampa Macabra, 2014

                               HD video projection
Leo Marz   Project selection                          July, 2020

                               Trampa Macabra, 2014

                               HD video projection
Leo Marz                                          Project selection                                                                                  July, 2020

Dead Ringers

The paintings depict two nearly identical film stills from Alfred Hitchcock’s Vertigo. They portray the scene in which Scottie ( James Stewart)
observes Madeleine (Kim Novak) sitting on a museum bench gazing at a portrait of Carlotta Valdes. Marz had two identical twins to create the
paintings for him and they will be installed on opposite walls. A close comparison will show that although they differ slightly, the paintings de-
pict the same scene.

The twin paintings are accompanied by a slide projection showing brief texts that summarize the plots of other films. Scenic painters were hired
to paint the texts on linen, then photographed the paintings, and then incinerated them so all that remains are their ashes. The plot summaries
that he selected could easily be mistaken with that of Vertigo.

The installation also includes two wooden boxes, one named Gimmick and the other Fake. Gimmick contains a certificate from Marz attesting
to the fact that the two paintings were created by identical twins together with blood samples for possible future DNA testing. Fake houses the
slides and the ashes from the burned paintings.
Leo Marz   Project selection                             July, 2020

                               Dead ringers, 2012

                               Installation view
                               Two oil paintings on canvas 180 x 99 cm
                               each; wooden box containing certificate,
                               hair and blood samples of identical twins
                               who painted them; wooden box containing
                               slides and ashes from burned paintings and
                               slide projector (06:40 min)
Leo Marz   Project selection                        July, 2020

                               Dead ringers, 2012

                               Oil painting
                               180 x 99 cm
Leo Marz   Project selection                        July, 2020

                               Dead ringers, 2012

                               Oil painting
                               180 x 99 cm
Leo Marz   Project selection                            July, 2020

                               Dead ringers, 2012

                               Intallation detail
                               Wooden box containing slides and ashes
                               from burned paintings
Leo Marz   Project selection                            July, 2020

                               Dead ringers, 2012

                               Installation detail
                               Wooden box containing certificate and
                               blood samples of identical twins
                               who painted them
Leo Marz                                           Project selection                                                                                     July, 2020

Yet Unnamed, three exercises on contextual materiality

The history of ideas could be approached by relating them to that which makes them possible. This is because it has not been comprehended in
terms of continuity, but rather in function of changes and transformations that follow time-space based data to be analyzed. Foucault says that
the history of ideas truly starts when the multiple character of truth was understood. That is to say, ideas vary upon different cultures and, to no-
tice it, it is precise to document the effects of rupture in history of the diverse ways of thinking of the actors and semantic variations of language
which do not allow us to conceive a history of ideas homogenous and continuous.

During Marz’s residency at PAN Studios Program he developed a project focused on the possible leaks existing between a museum and its ar-
chive, generators of meaning, and its context. He interested in how these leaks, which are often presented as discussions, provoke the regenera-
tion of signifiers and future context through dialogue.

Poetically, this discussions may produce enough energy to create a symbolic big bang that would allow us travel in time letting us trace a memory
for the future.
Leo Marz   Project selection                              July, 2020

                               Ferrante Imperato Dell’Historia Naturale,
                               1599

                               Wikipedia version (left) and the original
                               image taken from the manuscript section
                               from the Naples Library (right).
Leo Marz   Project selection                               July, 2020

                               Archive Wall, 2010

                               Museum wall painted in layers with all of
                               the colors it has been historically painted
                               700 x 400 cm
Leo Marz   Project selection                               July, 2020

                               Big bang, 2010

                               Pigments used in neapolitan fireworks and
                               a selection of the top 10 discussions at Ra-
                               dio Pan about the City of Naples
                               250 x 250 cm
Leo Marz   Project selection                            July, 2020

                               Fantascienza Napolitana, 2010

                               Video HD
                               6:00 min
Leo Marz                                          Project selection                                                                                     July, 2020

Justin Case this is the end

This exhibition is articulated through six projects. The name of the exhibition may suggest a wordplay; nevertheless it refers to a real person. Jus-
tin Case is an actual character with whom Marz held an interview regarding the literal meaning of his name. Within the context of this exhibi-
tion, this reference becomes a suggestion to lucubrated fictions on what “could happen” in case the world came to an end.

The aesthetic dwellings proposed by the artist take off from apocalyptic imagery or the notion of “end” of culture, in order to confabulate fic-
tional sceneries through Casa del Lago’s documents, biographical records, drawings, as well as postmedia projections and museographical mon-
tages. Through this heterogeneous combination of formats and the collaborative methodology of “featuring”, this exhibition involves procedures
common to contemporary art, such as archival simulation and institutional memory; the narrative potential of indexes, testimonies, and histor-
ical documents; and the construction of false imprints through drawings and video footage. Such convolution traces temporary lines between
ambiguous contexts and hypertextual resonances, unfolding narratives that incite us to make hypothetic speculations about the “end” as cultural
logic.
Leo Marz   Project selection                              July, 2020

                               Leo Marz feat. Oswaldo Ruiz
                               Portrait of Justin Case, 2010

                               Photo print
                               40 x 50 cm
Leo Marz   Project selection                             July, 2020

                               Leo Marz feat. Rubén Gutiérrez
                               NO ONE will become saved from eternal
                               damnation after Friday, 21, 2011

                               Cada lunes se acaba el mundo, 2011

                               Charcoal on paper and Video HD
Leo Marz   Project selection                             July, 2020

                               Leo Marz feat. Pablo Rasgado
                               La Historia como Espacio Negativo del Fu-
                               turo, 2011

                               Graphite dust on wall
Leo Marz   Project selection                              July, 2020

                               Index awaiting to be archived, 2011

                               Materials used to produce and mount the
                               show
Leo Marz                                        CV                                                                                                                                July, 2020

Leo Marz                                        2018                                              Mexico City, Mexico                            2012
Zapopan, 1979                                   Las batallas del display, Alternativa Once,                                                      Los irrespetuosos, Museo de Arte Carrillo Gil,
                                                Monterrey, Mexico                                 #núcleo, Galería Hilario Galguera, Mexico      Mexico City, Mexico
STUDIES                                                                                           City, Mexico
MFA in New Media, Transart Institute and        2017                                                                                             Mitos oficiales, Laboratorio de Oaxaca, Oaxa-
Donau Universität, 2006 – 2008, Krems,          Monolito, Proyectos Impala, Chihuahua, Mex-       La imagen perdida, Museo de Arte Raúl An-      ca, Mexico
Austria                                         ico                                               guiano, Guadalajara, Mexico
                                                                                                                                                 Los impolíticos, Espacio de Arte Contemporá-
Bachelor’s degree in History. UACH. Chihua- 2012                                                  2017                                           neo, Montevideo, Uruguay
hua, Chihuahua                                Dead Ringers, Steve Turner Contemporary,            Forma sobre fondo, Proyectos Monclova, Mexi-
                                              Los Angeles, USA                                    co City, Mexico                                 2011
Technical carrer in analog photography Escue-                                                                                                     Tiempo de sospecha, Museo de Arte Moderno,
la Americana de Fotografía. Monterrey, Mexi- Realidad in Absentia, Muno, Zacatecas, Mexico        La nueva onda del silencio, El cuarto de máqui- Mexico City, Mexico
co                                                                                                nas, Mexico City, Mexico
                                              2011                                                                                                2010
Bachelors degree in plastic arts, UDLA-P.     Justin Case este sea el fin, Casa del Lago, Mexi-   proxy, Atski Gallery; NODE Gallery y Studio Second Coming, Hessel Museum of Art, New
Puebla, Mexico                                co City, Mexico                                     7044, Helsinski, Finland                        York, USA

Diploma in world history of cinema. Cinete-     2009                                              2015                                           Los impolíticos, Palazzo delle Arti Napoli, Na-
ca Nuevo León. Monterrey, Mexico                Cog. No-Automático, Monterrey, Mexico             Visualizar, Ex-Convento del Carmen, Guada-     ples, Italy
                                                                                                  lajara, Mexico
SOLO SHOWS                                      GROUP SHOWS                                                                                      2009
2020                                            2020                                              Centro Cultural Tijuana, Tijuana, Mexico       CHPPDNSCRWD, Yautepec gallery, Mexico
XIV Bienal FEMSA Inestimable Azar, Morel-       If You Like This, You’ll Love That, Collar-                                                      City, Mexico
ia y Pátzcuaro, México                          works, Nueva York, EUA                            2014
                                                                                                  La voluntad de la piedra, Museo de Arte Car-   RESIDENCIES
2019                                            2018                                              rillo Gil, Mexico City, Mexico                 2019, Taller Los Guayabos, Guadalajara, Mex-
Aquellos mundos, Galería Hilario Galguera,      Registro 05/Enfocar la mirada, Museo MAR-                                                        ico
Mexico City, Mexico                             CO Monterrey MX                                   2013
                                                                                                  Toda la memoria del mundo, Casa del Lago,      2012, The Banff Center FONCA, Banff, Can-
                                                Ficción y tiempo, Centro Cultural Tlatelolco,     Mexico City, Mexico                            ada
Leo Marz                                    CV                                                                                                                            July, 2020

2010, PAN Studios, Naples, Italy            Jóvenes Creadores, FONECA, Nuevo León,         OTHER ACTIVITIES                               CONFERENCES
                                            Mexico                                         Curatorial activity                            2017
2009, SPACES World Artist Program, Cleve-                                                  2018 – Currently                               Fantasmas, Museo de Arte de Ciudad Juárez,
land, USA                                   2009                                           Director of the Curatorial Program of the      Juarez City, Mexico
                                            Jóvenes Creadores, Fondo Nacional de la Cul-   CRGS-UDEM, Monterrey, Mexico
2008, SPACE INVADERS, Denver, USA           tura y las Artes FONCA, Mexico City, Mexi-                                                    2015
                                            co                                             2018                                           Fantasmas, Feria del Libro Tijuana, Tijuana,
GRANTS AND AWARDS                                                                          Twice-Told Tales, Peana Projects. Monterrey,   Mexico
2018 – 2021                                 2008                                           Mexico
Sistema Nacional de Creadores, FONCA and    La Colección/Fundación Jumex, Mexico City,                                                     2014
CONACULTA, Mexico                           Mexico                                         2016 – 2018                                     Fantasmas, Feria Internacional del Libro Gua-
                                                                                           Artistic Director of Lugar Común, Monterrey, dalajara, Guadalajara, Mexico
2013                                        Jóvenes Creadores, FONCA, Nuevo León, Mexico Mexico
Acquisition prize Reseña, artwork Tunnel                                                                                                   2013
Mountain, Monterrey, Mexico                 2007                                           2015 – 2016                                     El relato vence a la muerte, Documentaries
                                            Emergency Chechnya Biennale Prize              XII Bienal FEMSA local curator, Monterrey,      Tour Ambulante, MARCO, Monterrey, Mexi-
Scholarship for abroad residencies, FONCA                                                  Mexico                                          co
and CONACULTA, Mexico                       2006
                                            Jóvenes Creadores, FONECA, Nuevo León,         2011                                            2008
Jóvenes Creadores of FONCA and CONA-        Mexico                                         Círculos de Confusión: Caos Social y Fic-       Metapong, American Association of Museums
CULTA, Mexico City, Mexico                                                                 ciones Dominantes, Transitio_MX 04, Mexi- Annual Meeting, Denver, USA
                                            XXVI Encuentro Nacional de Arte Joven,         co City, Mexico
2012                                        Aguascalientes, Mexico                                                                         2006
Programa BBVA Bancomer-MACG Arte Ac-                                                       2008                                            Metapong, Peggy Guggenheim Collection,
tual 2012 – 2014, BBVA Bancomer and Mu-     Friends of Transart Institute MFA scholar-     Mixtapers ‘R Us’, grade exhibition of the Tran- Venice, Italy
seo de Arte Carrillo Gil, Mexico            ship, Stockdale, USA                           sart Institute 2006 – 2008 generation, O.K
                                                                                           Centrum für Gegenwartskunst, Linz, Austria TEACHING
2011                                        2004                                                                                           2018 – Currently
Estímulo Fiscal a la Creación Artística     Azúcar en la vía láctea, 2ª Bienal de Yucatán, 2005 – 2009                                     Bachelor of Arts’ Academic Director at Uni-
CONARTE-Bricos, CONARTE, Mexico             Honored Mention, Yucatán, Mexico               Curator at Object Not Found, Monterrey,         versidad de Monterrey, Monterrey, Mexico
2010                                                                                       Mexico
Leo Marz                                         CV   June, 2020

2017 – 2018
Professor of the Bachelor of Arts at Universi-
dad de Monterrey, Monterrey, Mexico

2013 – 2015
Co-director of the transdisciplinary program
La Conversación, Museo Felguérez, Zacatecas,
Mexico

2009 – 2012
Subject professor at the CEDIM, Monterrey,
Mexico

2009 – 2011
Invited workshop facilitator, La Curtiduría
Centro de Artes Visuales, Oaxaca, Mexico

2008
Workshop about prejudices and perception
through the arts, Inside/Outside/North &
South, Museo de las Americas, Denver, USA
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