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Leo Marz October, 2021 - Webflow
Leo Marz   October, 2021
Leo Marz October, 2021 - Webflow
Leo Marz                                                                                                                                         October, 2021

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 apparent connections between them. The choice of the subjects he assesses is only a pretext to surrender himself to the flux of dis-
continuities 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 define with words. His actions become visible through spacial montages that bring objects and subjects together, try-
ing 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 is part of
the Sistema Nacional de Creadores (FONCA). As well, he has received several grants including: Programa Jóvenes Creadores del FON-
CA 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.

His work has been recently shown at Museo Jumex, and previously at: the XIV Bienal FEMSA (comissioned artwork), the Biennial of
Chechenia; the 2nd Biennial of Yucatán (honorary mention on installation), Palazzo delle Arti in Napoli, 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 Monterrey. In recent years his work has been included in public collections such as Colección Fun-
dación M.

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 forum on discussion and critic on emerging artistic practices in Nuevo León during the first decade of the XXI Century. He was lo-
cal curator for the XII Bienal FEMSA. For three years he directed Lugar Común, a space for poetic production in Monterrey. He is current-
ly the director of the UDEM’s art school.
Leo Marz October, 2021 - Webflow
Leo Marz                                       Project selection                                                                                October, 2021

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 Mo-
rales, 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 genera-
tions that would serve as a sort of teaser for entering 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 pub-
lic compositions 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 it-
self 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 atmospheric installation of sorts. This display then turned into an ideal spot for selfies and both group and indi-
vidual 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 October, 2021 - Webflow
Leo Marz   Project selection                    October, 2021

                               Monolito, 2018

                               Installation view
                               Museo MARCO, Monterrey
Leo Marz October, 2021 - Webflow
Leo Marz   Project selection                      October, 2021

                               Monolito (05/100100AL), 2017

                               Acrylic on linen
                               100 x 100 cm
Leo Marz October, 2021 - Webflow
Leo Marz   Project selection                      October, 2021

                               Monolito (07/100120AL), 2017

                               Acrylic on linen
                               120 x 100 xm
Leo Marz October, 2021 - Webflow
Leo Marz   Project selection                      October, 2021

                               Monolito (02/6048AL), 2017

                               Acrylic on linen
                               60 x 48 cm
Leo Marz October, 2021 - Webflow
Leo Marz   Project selection                     October, 2021

                               Monolito, 2017

                               Installation view
                               Mural and bench
                               Acrylic on concrete and wood
                               600 x 2400 cm
Leo Marz October, 2021 - Webflow
Leo Marz   Project selection                      October, 2021

                               Monolito (03/6070AL), 2017

                               Acrylic on linen
                               60 x 70 cm
Leo Marz October, 2021 - Webflow
Leo Marz   Project selection                    October, 2021

                               Monolito, 2018

                               Installation view
                               Museo MARCO, Monterrey
Leo Marz   Project selection                      October, 2021

                               Monolito (03/4040AC), 2018

                               Monolito (01/4040AC), 2018

                               Monolito (04/4040AC), 2018

                               Acrylic on linen
                               40 x 40 cm
Leo Marz   Project selection                      October, 2021

                               Monolito (07/4040AC), 2018

                               Monolito (06/4040AC), 2018

                               Monolito (08/4040AC), 2018

                               Acrylic on linen
                               40 x 40 cm
Leo Marz   Project selection                      October, 2021

                               Monolito (04/200200AL), 2018

                               Acrylic on linen
                               200 x 200 cm
Leo Marz                                          Project selection                                                                                     October, 2021

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 pictori-
al 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
create 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 exhibi-
tion 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 la-
ser paintings —because they are printed using a laser printer, and then transferred to the prepared canvas— has a certain musical quality
reminiscent 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-ending 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                     October, 2021

                               La nueva onda del silencio, 2017

                               Installation view
                               El cuarto de máquinas, Mexico City
Leo Marz   Project selection                       October, 2021

                               Batallas del display (01/140160AC),
                               2018

                               Acrylic on canvas
                               140 x 160 cm
Leo Marz   Project selection                      October, 2021

                               Las batallas del display, 2017

                               Acrylic on linen
                               80 x 80 cm
Leo Marz   Project selection                       October, 2021

                               Las batallas del display, 2018

                               Acrylic on canvas
                               160 x 260 cm
Leo Marz   Project selection                       October, 2021

                               Las batallas del display, 2017

                               Acrylic on canvas
                               80 x 60 cm
Leo Marz   Project selection                       October, 2021

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

                               Acrylic on canvas
                               300 x 250 cm
Leo Marz   Project selection                      October, 2021

                               Las batallas del display, 2018

                               Installation view
                               MURA, Guadalajara
Leo Marz   Project selection                       October, 2021

                               we have many, many folders (detail),
                               2017

                               Acrylic on canvas
                               Variable measures
Leo Marz   Project selection                       October, 2021

                               we have many, many folders (detail),
                               2017

                               Acrylic on canvas
                               Variable measures
Leo Marz   Project selection                       October, 2021

                               we have many, many folders (detail),
                               2017

                               Acrylic on canvas
                               Variable measures
Leo Marz   Project selection                    October, 2021

                               we have many, many folders, 2017

                               Installation view
                               ESPAC, Mexico City
Leo Marz   Project selection                     October, 2021

                               La nueva onda del silencio, 2017

                               Installation view
                               El cuarto de máquinas, Mexico City
Leo Marz   Project selection                      October, 2021

                               #cc_200*01, 2018

                               Dry toner and acrylic on canvas
                               200 x 200 cm
Leo Marz   Project selection                     October, 2021

                               #cc (03), 2019

                               Dry toner and acrylic on canvas
                               60 x 60 cm
Leo Marz   Project selection                      October, 2021

                               Untitled from the series #cc, 2019

                               Dry toner and acrylic on canvas, wall in-
                               tervention
                               80 x 80 cm
Leo Marz   Project selection                     October, 2021

                               The Wind (from #cc series), 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                                                                          October, 2021

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
machinery of A Million of Good Reasons to Become a Millionaire to talk about the collapse of the economic system, through a reenac-
ment of the use of public funding to try to keep it running (TARP, Fobaproa, etc.)
Leo Marz   Project selection                      October, 2021

                               Bailout, 2014

                               Installation view
                               Marble, drawings on paper, inkjet prints
                               on paper and gold painted metal cubes
                               Variable measures
Leo Marz   Project selection   October, 2021
Leo Marz   Project selection   October, 2021
Leo Marz   Project selection   October, 2021
Leo Marz                                       Project selection                                                                               October, 2021

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 multi-
plicity 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 / histo-
ry.

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 / un-
derstand behaviors, 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 performed 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 ex-
press 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                     October, 2021

                               CHATS E04, 2011

                               HD Video
                               10:51 min
Leo Marz   Project selection                     October, 2021

                               CHATS E03, 2011

                               HD Video
                               02:47 min
Leo Marz   Project selection                     October, 2021

                               CHATS E05, 2011

                               HD Video
                               01:49 min
Leo Marz   Project selection                     October, 2021

                               CHATS E01, 2011

                               HD Video
                               02:28 min
Leo Marz                                          Project selection                                                                                  October, 2021

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 full-
filment of the movie is suspended to analyze their development in the mediatic resources offered by new technologies. Its deterioration,
fragmentation, dismemberment, 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
production resources of 70’s cinema and the mediatic platforms and broadcasting nowadays.
Leo Marz   Project selection                      October, 2021

                               Trampa Macabra, 2014

                               Brilliant white enamel on wall
                               300 x 1000 cm
Leo Marz   Project selection                     October, 2021

                               Trampa Macabra a.k.a. Don’t Look Be-
                               hind, 2014

                               Acrylic and LED sign
                               70 x 300 cm
Leo Marz   Project selection                     October, 2021

                               Trampa Macabra, 2014

                               HD video projection
Leo Marz   Project selection                     October, 2021

                               Trampa Macabra, 2014

                               HD video projection
Leo Marz   Project selection                     October, 2021

                               Trampa Macabra, 2014

                               HD video projection
Leo Marz   Project selection                     October, 2021

                               Trampa Macabra, 2014

                               HD video projection
Leo Marz                                        Project selection                                                                                October, 2021

Dead Ringers

The paintings depict two nearly identical film stills from Alfred Hitchcock’s Vertigo. They portray the scene in which Scottie (James Stew-
art) 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 depict 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 at-
testing 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                      October, 2021

                               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 contain-
                               ing slides and ashes from burned paint-
                               ings and slide projector (06:40 min)
Leo Marz   Project selection                    October, 2021

                               Dead ringers, 2012

                               Oil painting
                               180 x 99 cm
Leo Marz   Project selection                    October, 2021

                               Dead ringers, 2012

                               Oil painting
                               180 x 99 cm
Leo Marz   Project selection                    October, 2021

                               Dead ringers, 2012

                               Intallation detail
                               Wooden box containing slides and ashes
                               from burned paintings
Leo Marz   Project selection                     October, 2021

                               Dead ringers, 2012

                               Installation detail
                               Wooden box containing certificate and
                               blood samples of identical twins
                               who painted them
Leo Marz                                         Project selection                                                                                 October, 2021

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 compre-
hended 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 dif-
ferent cultures and, to notice 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 archive, generators of meaning, and its context. He interested in how these leaks, which are often presented as discussions, provoke
the regeneration 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                      October, 2021

                               Ferrante Imperato Dell’Historia Natu-
                               rale, 1599

                               Wikipedia version (left) and the original
                               image taken from the manuscript section
                               from the Naples Library (right).
Leo Marz   Project selection                       October, 2021

                               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                      October, 2021

                               Big bang, 2010

                               Pigments used in neapolitan fireworks
                               and a selection of the top 10 discussions
                               at Radio Pan about the City of Naples
                               250 x 250 cm
Leo Marz   Project selection                    October, 2021

                               Fantascienza Napolitana, 2010

                               HD Video
                               6:00 min
Leo Marz                                       Project selection                                                                                October, 2021

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 per-
son. Justin Case is an actual character with whom Marz held an interview regarding the literal meaning of his name. Within the context of
this exhibition, 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 confabu-
late fictional sceneries through Casa del Lago’s documents, biographical records, drawings, as well as postmedia projections and mu-
seographical montages. Through this heterogeneous combination of formats and the collaborative methodology of “featuring”, this exhi-
bition involves procedures common to contemporary art, such as archival simulation and institutional memory; the narrative potential of
indexes, testimonies, and historical documents; and the construction of false imprints through drawings and video footage. Such convolu-
tion traces temporary lines between ambiguous contexts and hypertextual resonances, unfolding narratives that incite us to make hypo-
thetic speculations about the “end” as cultural logic.
Leo Marz   Project selection                      October, 2021

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

                               Photo print
                               40 x 50 cm
Leo Marz   Project selection                    October, 2021

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

                               Cada lunes se acaba el mundo, 2011

                               Charcoal on paper and HD video
Leo Marz   Project selection                     October, 2021

                               Leo Marz feat. Pablo Rasgado
                               La Historia como Espacio Negativo del
                               Futuro, 2011

                               Graphite dust on wall
Leo Marz   Project selection                     October, 2021

                               Index awaiting to be archived, 2011

                               Materials used to produce and mount the
                               show
Leo Marz                                        CV                                                                                                                  October, 2021

Leo Marz                                        sioned work), Centro Cultural Clavijero,   CREADORXS, Salón Cosa 2nd edition at          If You Like This, You’ll Love That, Collar-
(Zapopan, 1979)                                 Morelia, Mexico                            Bellwort Hotel, Guadalajara, Mexico           works, New York, USA

STUDIES                                   2019                                             Una pintura no es una isla, Centro Cultural   2019
Bachelor’s degree in History, Universidad Aquellos mundos, Galería Hilario Gal-            Plaza Fátima, Nuevo León, Mexico              Registro 05/Enfocar la mirada, MARCO
Autónoma de Chihuahua, Chihuahua, Mex- guera, Mexico City, Mexico                                                                        Museum, Monterrey, Mexico
ico                                                                                        Normal Exceptions: Contemporary Art in
                                          2018                                             Mexico, Museo Jumex, Mexico City, Mexi-       2018
MFA in New Media, Transart Institute and  Las batallas del display, Alternativa Once,      co                                            Ficción y tiempo, Centro Cultural Tlatelolco,
Donau Universität, Krems, Austria         Monterrey, Mexico                                                                              Mexico City, Mexico
                                                                                           2020
Technical career in Analog Photography,         2017                                       Afinidades electivas, Américas Mil500,        #núcleo, Galería Hilario Galguera, Mexico
Escuela Americana de Fotografía, Monter-        Monolito, Proyectos Impala, Chihuahua,     Guadalajara, Mexico                           City, Mexico
rey, Mexico                                     Mexico
                                                                                           Festival Arte en Vivo, Fototeca Nuevo León, La imagen perdida, Museo de Arte Raúl
Bachelor of Fine Arts, UDLA-P, Puebla,          2012                                       Monterrey, Mexico                           Anguiano, Guadalajara, Mexico
Mexico                                          Dead Ringers, Steve Turner Contemporary,
                                                Los Angeles, USA                           Los objetos en el espejo están más cerca de 2017
Certificate in World History of Film, Cinete-                                              lo que parece, Museo Autoservicio Antara, Forma sobre fondo, Proyectos Monclova,
ca Nuevo León, Monterrey, Mexico                Realidad in Absentia, Muno, Zacatecas,     Mexico City, Mexico                         Mexico City, Mexico
                                                Mexico
SOLO SHOWS                                                                                 A medida incierta, CONARTE in collabora-      The New Wave of Silence, El cuarto de
2021                                      2011                                             tion with Galería Emma Molina and Alter-      máquinas, Mexico City, Mexico
The Ancient Incident, Museo Jumex, Mexico Justin Case This Is The End, Casa del Lago,      nativa Once Galería, Nave Generadores,
City, Mexico                              Mexico City, Mexico                              Nuevo León, Mexico                            proxy, Atski Gallery; NODE Gallery and
                                                                                                                                         Studio 7044, Helsinski, Finland
2020                                            2009                                       Regresar al origen: Las Fuentes de Mac-
The Last Buffet, Pequod Co., Mexico City,       Cog., No-Automático, Monterrey, Mexico     roplaza, Festival Internacional de Santa      2015
Mexico                                                                                     Lucía 2020 and Las Artes Monterrey, Mon-      Visualizar, Ex-Convento del Carmen, Gua-
                                          GROUP SHOWS                                      terrey, Mexico                                dalajara, Mexico
XIV Bienal FEMSA Inestimable Azar (comis- 2021
Leo Marz                                    CV                                                                                                               October, 2021

La voluntad de la piedra, Centro Cultural   2009                                        2012, The Banff Center FONCA, Banff,       2011, Estímulo Fiscal a la Creación Artística
Tijuana, Tijuana, Mexico                    CHPPDNSCRWD, Yautepec gallery, Mexico Canada                                           CONARTE-Bricos, CONARTE, Mexico
                                            City, Mexico                                                                           2010, Jóvenes Creadores of FONECA,
2014                                                                                    2010, PAN Studios, Naples, Italy           Nuevo León, Mexico
La voluntad de la piedra, Museo de Arte     Una serie de microfascismos consecutivos y
Carrillo Gil, Mexico City; Museo Amparo,    sin fin, MUCA Roma, Mexico City, Mexico     2009, SPACES World Artist Program,         2009, Jóvenes Creadores of FONCA,
Puebla; Museo de Arte de Sonora, Sonora,                                                Cleveland, USA                             Mexico City, Mexico
Mexico                                      Los impolíticos, Palazzo delle Arti Napoli,
                                            Naples, Italy                               2008, SPACE INVADERS, Denver, USA          2008, La Colección/Fundación Jumex,
2013                                                                                                                               Mexico City, Mexico
Toda la memoria del mundo, Casa del         2008                                       GRANTS & AWARDS
Lago, Mexico City, Mexico                   The Milagrosos, Space Invaders, Museo de   2021, Sistema Nuevo León para el impul-     2008, Jóvenes Creadores of FONECA,
                                            las Américas, Denver, USA                  so artístico y la creación 2021, CONARTE,   Nuevo León, Mexico
2012                                                                                   Mexico
Los irrespetuosos, Museo de Arte Carrillo   Cho Cosushi, Trajectories, New Life Shop                                               2007, Emergency Chechnya Biennale Prize,
Gil, Mexico City, Mexico                    Gallery, Berlin, Germany                   2018 – 2021, Sistema Nacional de            Istanbul, Turkey
                                                                                       Creadores, FONCA and CONACULTA,
Mitos oficiales, Laboratorio de Oaxaca,     2007                                       Mexico                                      2007, Selection Salon National d’Art Con-
Oaxaca, Mexico                              Me odio y quiero comprar, Galería Enrique                                              temporain du Cadre d’Or, Espace Pierre
                                            Guerrero, Mexico City, Mexico             2013, Acquisition prize Reseña, artwork      Cardin, Paris, France
Los impolíticos, Espacio de Arte Contem-                                              Tunnel Mountain, Monterrey, Mexico
poráneo, Montevideo, Uruguay                2006                                                                                   2006, Jóvenes Creadores of FONECA,
                                            All Together Now, Plataforma 06, Puebla,  2013, Scholarship for abroad residencies,    Nuevo León, Mexico
2011                                        Mexico                                    FONCA and CONACULTA, Mexico
Tiempo de sospecha, Museo de Arte Mod-                                                                                             2006, Selection XXVI Encuentro Nacional
erno, Mexico City, Mexico                   Bunker o no Bunker, Ramis Barquet, Mon-    2013, Jóvenes Creadores of FONCA and        de Arte Joven, Aguascalientes, Mexico
                                            terrey, Mexico                             CONACULTA, Mexico City, México
2010                                                                                                                               2006, Friends of Transart Institute MFA
Second Coming, Hessel Museum of Art,        RESIDENCIES                                2012, Programa BBVA Bancomer-MACG           scholarship, Stockdale, USA
New York, USA                               2019, Taller Los Guayabos, Guadalajara,    Arte Actual 2012 – 2014, BBVA Bancomer
                                            Mexico                                     and Museo de Arte Carrillo Gil, Mexico      2004, Azúcar en la vía láctea, 2ª Bienal de
Leo Marz                                     CV                                                                                            October, 2021

Yucatán, Honored Mention, Yucatán, Mexi-     Mixtapers ‘R Us’, grade exhibition of the      2006
co                                           Transart Institute 2006 – 2008 generation,     Metapong, Peggy Guggenheim Collection,
                                             O.K Centrum für Gegenwartskunst, Linz,        Venice, Italy
PUBLIC COLLECTIONS                           Austria
Colección Fundación M, Mexico City, Mex-                                                    TEACHING
ico                                          2005 – 2009                                    2018 – Currently
                                             Curator at Object Not Found, Monterrey,        Bachelor of Arts’ Academic Director at Uni-
OTHER ACTIVITIES                             Mexico                                         versidad de Monterrey, Monterrey, Mexico
CURATORIAL ACTIVITY
2018 – Currently                             CONFERENCES                                    2017 – 2018
Director of the Curatorial Program of the    2017                                           Professor of the Bachelor of Arts at Univer-
CRGS-UDEM, Monterrey, Mexico                 Fantasmas, Museo de Arte de Ciudad             sidad de Monterrey, Monterrey, Mexico
                                             Juárez, Juarez City, Mexico
2018                                                                                        2013 – 2015
Twice-Told Tales, Peana Projects. Monter-    2015                                           Co-director of the transdisciplinary program
rey, Mexico                                  Fantasmas, Feria del Libro Tijuana, Tijuana,   La Conversación, Museo Felguérez, Zacate-
                                             Mexico                                         cas, Mexico
2016 – 2018
Artistic Director of Lugar Común, Monter-    2014                                           2009 – 2012
rey, Mexico                                  Fantasmas, Feria Internacional del Libro       Subject professor at the CEDIM, Monterrey,
                                             Guadalajara, Guadalajara, Mexico               Mexico
2015 – 2016
XII Bienal FEMSA local curator, Monterrey,   2013                                           2009 – 2011
Mexico                                       El relato vence a la muerte, Documentaries     Invited workshop facilitator, La Curtiduría
                                             Tour Ambulante, MARCO Museum, Mon-             Centro de Artes Visuales, Oaxaca, Mexico
2011                                         terrey, Mexico
Círculos de Confusión: Caos Social y Fic-                                                   2008
ciones Dominantes, Transitio_MX 04, Mexi-    2008                                           Workshop about prejudices and perception
co City, Mexico                              Metapong, American Association of Muse-        through the arts, Inside/Outside/North
                                             ums Annual Meeting, Denver, USA                & South, Museo de las Americas, Denver,
2008                                                                                        USA
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